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darlingofvalyria · 9 months

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❝I am not a Valyrian Sex God.❞

part 03 | pucker up, buttercup

chapter summary:

[ The line of friendship dances in uncertain waters when you and Aemond play the fake dating game a little too well. Helaena reveals much more than meets the eye to Aegon, and vice versa. Oh, and Alys. Hi Alys! ]

[ 5,399 ] [ series masterlist ] | best friend's brother!aemond targaryen x f!reader, ft. cregan stark x f!reader & aemond targaryen x alys rivers,

contains— mostly fluff, a wee bit angsty, a little smutty - profanity, i swear a lot sorry too shhshs - no use of y/n - no gods, no kings, no betas.

a/n— thank you so much for the love this little fic is getting so far!! it truly warms my heart that you people enjoy my twisty, crackpot humour and my version of a modern au for these characters!! as much as i am grateful for george for making these characters and these stories, i have to say what propelled me to write is the beautiful community i found. truly, from the bottom of my heart. ❥ fandom is built on community. i would not have had the courage to start writing fanfiction again if not for ya'll. so thank you so much. for the consumers and the creators. you, us, are the beating heart of fandom. please take care of each other. + comment, reblog & like at will, mwa ♡

"Please tell me I haven't inhaled so much drugs in my system that I am hallucinating our— and I say this with a lot love, okay you know what? No. Our Nasty Little Bitch of A Grudge Holder we call, lovingly, a brother, is not dating the hottest friend you have? Hel? The hottest friend you told me if I ever came anywhere near, you'd rip me a new asshole? How is Aemond's asshole still intact?? Or does our brother just have a gaping fun-house slide down there? Hello? Hellooo, pay attention to meee. This is so rude, why didn't I call Daeron?"

"Because Daeron knows nothing and I know everything?" Hel snorts, finishing up re-naming Aemond's contact from CURRENT DUMB BRO to NASTY LITTLE BITCH OF A GRUDGE HOLDER, before turning to Aegon on her laptop.

Like she predicted, Aegon is already pouting, leaning back on what Helaena remembers is their grandfather's rum-coloured leather office chair. In his office. In Oldtown.

After a quick stint in Ibiza, it seems Helaena's brother had found himself back in the country, and worse— back in their grandfather's office. Without him in it.

"Grandpa's going to kill you." Helaena snorts. "How'd you even get inside his house?"

"This is not the first time I have been faced with a locked door, baby sister."

"You broke a window didn't you?"

"I really, really had to piss."

She rolls her eyes. Hard. "You are a boy. You can literally just pee anywhere."

Aegon flutters a gasp and a hand over his chest. "Excuse me? I may have a penis, but that does not mean I have to be uncouth. For shame, Helaena. Also disgusting. But that's not why I called." He steeples his fingers as he leans forward, pressing his elbows against the nice mahogany desk. "What the fuck is happening over there? I'll be there by tomorrow and I'd like to know what the fuck is happening before I start—" he wiggles his eyebrows salaciously, " — shaking things up."

A dark look crosses Helaena's usually amiable pretty face that has Aegon leaning back. "If you do anything— and I mean anything — to ruin what I have going on, Mother may help you for I certainly won't. The Stranger will look like an old friend, Egg, don't you fucking dare."

"What the fuck," Aegon exhales, wide-eyed and horrified. "Have you been watching M. Night Shyamalan movies again?"

"No," she lies. "I'm doing this for my OTP."

"Oh my god, you're the one who roped them together?" Aegon strangles a sigh. "Lae-lae, we've talked about this. No matter how much you think they're cute, Aemond—"

"— Aemond and Alys broke up."

"Then they'll be together again before the weekend's out." Aegon rolls his eyes. "It's Aemond."

"Not like this." Hel shakes her head. "I got her to agree, Egg. And they're like... Gods, the pictures don't do them justice. They're magnetic. They make plans at the apartment, Aemond is there all the time— my OTP is happening."

"You are playing god between two people you care about."

"What else am I supposed to do?! They're obviously so hot for each other, and now that Alys is out of the picture, and she's there, right in front of him, Egg, you should see how it is between them. The energy. It's crackling. They have inside jokes, they're so comfortable with each other, and I will have the most beautiful nephew and niece—"

"—Helaena Targaryen," Aegon admonishes with finality. Hel quiets. Often times, the siblings forget Aegon is quintessentially the oldest sibling. They had never been close to their father's actual firstborn— the age gap is wide and there's just... too much complicated family fissures in between that it feels awkward, even when they're relationship is okay, to interact or consider Rhaenyra anything past a cousin you see every other holiday because you have to, much less now that their father's dead — so Aegon is their big brother.

And though they see it in bits, in flung comet pieces that you see preciously once every few hundred years— the vibe of big brother grasps the edges and reminds the younger siblings.

Sure, he's a dick. Sure, he's a whore. Sure, he's their mother's least and most favourite headache— but Aegon is their big brother.

"You cannot play puppeteer like this. This can blow up in their faces. And they care for each other. Their friends. If this blows up in their faces, it is going to hurt."

"I know that," Helaena says quietly, pout pinched but face mostly cleared. "You don't think I don't know?"

"I think you've already outweighed your chances and your choosing a possibility."

Helaena looks truly scolded at that point, and it juts a guilt down Aegon's stomach. But Aegon likes you. Maybe not like in the way that his brother likes you— in that intense, possessive way he gets with people and things he care about because there are so few of them — but he likes you. And he loves Aemond on a bad day, and likes him on a good one.

And Aegon knows, as a superior power about crashing and burning, that this is going to hurt both of you in ways that he truly doesn't think Helaena understands.

Because he isn't blind (as his brother) (bad joke?) (probably) to what he sees in Aemond's gaze when it looks at you. Sure it's possessive, sure it's the same way he looks at most people he keeps close to his heart.

But he was the one who saw how Aemond looked at you before Alys came into the picture. Before it morphed into nothing but platonic; morphed close to how he looks at Helaena. In that soft, I'm So Glad This Person Exists I Would Kill Literally Everyone For Them.

Aegon always thought he looked at you like he wanted to devour you. Etch you into his skin until your shape is in red marks across white plane. He looked at you like I Would Kill Myself If You Asked.

It was the possibility of devotion dipped in insanity. Aemond had so few things, much less people, who so vocally, physically, and emotionally cared for him without addendums.

The only real reason he never did anything before was because you were Helaena's best friend. Helaena loved you. And he couldn't destroy that alongside the fact that you might leave his side.

And then Alys happened and that focal point moved.

Aegon knew his brother. Not as intensely, and maybe that's the reason he could see it. To see clearly past the intensity and recognise its edges. Aegon knew his brother in his marrow.

"When this crashes and burns—"

"If!" Helaena quips stubbornly. "If it crashes and burns. Come home. You'll see, Egg. Aemond just needs to see."

"And what if she doesn't reciprocate, Lae-lae? She's not hard to love, and this is Aemond." Even Helaena knows his feelings, once taken root in whatever form, can blossom.

Helaena smiles softly. "Come home. You'll see. I can see it. I've seen it. The possibility of them, and it's so pretty, Egg."

It's really not all that pretty, fake dating.

Maybe it could be, but Aemond Targaryen is such an ass.

"This is not like The Devil Wears Prada fashion montage," you grumble, pinching off the big, 60s, yellow sunglasses off your nose to glare pointedly at the man sat on lounge chair. "All the zippers and tugging— this is not as pretty! And I look ridiculous! I don't wear dresses like these, Aemy!"

"You don't look ridiculous, you look like my girlfriend." He makes his emphasis with an inch raised eyebrow and pouty lips twitching not to laugh. "That's the point, is it not?"

You make a drawl huff. It's not just that his words were right— that's what the past hour has been, roaming around all these big named fashion brands where the staff just knows Aemond Targaryen, if not just by him sauntering in with all the swagger of an asshole you'd walk the other side of the street to ignore, then by the flash of his black card (or three, 'cause what the fuck is money to Targaryens holy shit) — but the way he's sitting as he appraises every look he's chosen for you.

He's lax, as could be in his usually perfect posture, with his hips in the middle, and one leg braced down whilst the other is raised to his other thigh. A confident man's sitting position, with an arm over the length of the sofa, balancing a champagne a trying-to-suppress-her-giddiness staff gave him.

At your disapproved glare— down on your nose at him because you're standing over him, lording over him, as he's sitting down — and he's smirking up at you. As if the power dynamics don't shift by whoever is looming over the other.

Aemond doesn't need to stand to make you feel all fluttery with a smirk and a strong gaze against your body. His eyes gaze from the bottom of your heeled toes, slow, slow, slow, until it reached the top of your head.

Surely you've only imagined his gaze lingering on certain parts of you that now felt hot and tingly.

Surely.

"Plus," he continues with a hum. A sip of champagne. "Isn't this your idea?"

"Yes, but—"

"Didn't you tell me that I should prepare the kind of outfits that Aemond Targaryen's girlfriend would wear—"

"Yes, but I—"

He leans forward, taking pleasure in arguing with you, as he settles his elbows on his knees, pressing both of his feet flat on the tile. He's looking up, still, but his eyes are intense and the corner of his mouth is twitching from a grin he's trying to fight.

"And even when I told you that didn't matter, that whatever you wore would be fine, you insisted?"

"Because I thought it'd be fun!" you growl and he falls in faint, amused laughter. His eye is sparkling and there's a joy to him that makes you giddy. You truly have missed Aemond as you know him. "Because I wanted a fun dress-up montage, but nothing about this is fun! Why are you choosing so many goddamned zippers, and they're all so fucking tight?"

You plop beside him, stealing his champagne. Staff look away, trying not to ogle too much between you two. As you take sips of his drink, his hand, still over the sofa's arm, begin drawing idle circles on your exposed shoulders. It warms you and calms you down, melting further in the seat beside him.

"I liked the dresses," he finally murmurs. "The ones before this. The flowy fabric ones."

"Those are summer dresses," you say though don't know why.

"Hm," he hums. "You look pretty in them."

You look up at him and he's looking at you, a small smile on his face. The proximity is too near to be proper but not near enough if you're fake dating. You study his silver lashes and the scarred flesh.

"Thanks."

"We'll get them. Is that alright with you?"

You snort softly. "You're paying, Aemy. You can do whatever you want. Can't believe this is how your dates with Alys usually went."

Hatching plans meant unloading information about his former relationship with her. Going through their relationship so you could understand it better, better proportioned the good and the bad, and secretly, make him see the red flags that should jump out in clear, plastic red.

"Not at first." He's looking away now, but his finger is still drawing circles. There's a wistful tone to his voice, like seeing through a dream and a memory. "But when it got... bad, it seemed like the only time we weren't fighting was when we were in public. Almost subconsciously, whenever things got tensed, I'd offer to take us out. Do anything outside of our bubble. Money isn't an issue, and before Alys said she felt like a... cheap whore than a girlfriend, buying things for her, spending time looking through things to wear, to match almost, was safe."

"Gift Giving," you mutter with a nod. He turns.

"What was that?"

"A love language." He cocks his head. You sigh. "I mean it's stupid and not really theoretically accurate, but for fun, there's five types of love languages. People do this test thing and sort of box up the kind of love language you want to receive and what you give— but truly, in my opinion, a true kind of love demands all five for it to work."

He hums, intrigued. "And what are the five?"

"Words of Affirmation, Quality Time, Physical Touch, Acts of Service, Gift Giving. But, you know, all of those should be given by a partner, in increments they can do for you. There shouldn't be a boxed fixture of what your relationship could be."

You shrug, standing up and stretching. You don't see him looking at you in the way that he has been for the past few days, and he doesn't know the tingles and feelings you keep between a smile and a sigh.

"Love looks different for everyone but it should have the same concept."

"And what concept is that?"

You turn to him, smiling. "That if you truly love someone, you can try anything. Love doesn't demand things that you do for the simple reason that you love the person enough."

"Love can be complicated," he says, and he's not arguing, not really. He isn't begging for you to understand. He is simply saying.

"Love can," you agree. "As most things are complicated. But it doesn't have to hurt."

It's a boundary line, the way he blinks, remembering why you're here together, why he gets to touch you in intimate ways, why he gets to pay for clothes, why you spend this time with him. A jolt. A shock.

You don't press and he doesn't retreat. The line exists not just to remind, but to stabilise any projections. Any dangerous tones.

You simply smile, nodding at the time. "Dinner date, babycakes. We can't be late for reservations."

"We can be late for a few minutes," he says, remembering echoes of how Alys sometimes got late. It isn't really her fault; there are days when she's too busy at the law firm, too busy with a meeting or two, or still finishing up her makeup because she doesn't like going to dinner in her work clothes.

"Sure, but we're here together and I know how much you hate being late." You snort.

"I don't hate it."

"Sure, but you got that eye twitch you do when you're annoyed," you tease, tapping your own eye before you wink at him and skip away.

For the past few days since the bar incident, by your suggestion, you and Aemond had pour out the intricacies of how Aemond and Alys' relationship worked whilst hiding your true intention of making him see its faults and corners, and at the same time, continue on with the charade of dating him.

It's been a packed week or so, going to your shifts at the bar, meeting with Cregan once and a while (boy had been busy, and he found the entire thing with Aemond incredibly hilarious).

You answered no question mark in regards on who the hand was, only sent a winky face or a kiss blowing emoji. You continue to post minute representations of your no-longer-single status in brief intervals, making sure that you never name him. You never publicly give him a recognisable body.

But for those that knew, knew.

It really wasn't that hard. There were only so much pale, toned hands, so much body builds you can hide with your hand covering his general face that you can hide without people making smart guesses. There wasn't a lot of pale, toned people around you after all.

But in your refusal to name him, the question continues, and so does Alys silent observation of every post. The only story she had liked had been the very first one.

You often wonder what she thinks, before your mind is devoured once again with everything else.

To be fair, as often as you had both been seeing each other lately— and it has been the most often you have been seeing of him — there were still things outside of Aemond and Helaena plans. And Aemond still had UNI to focus on.

"You know, I often forget you're still in university," you say now, comfortably warm in Aemond's car. All fresh leather seat and crisp new car smell despite knowing that Aemond's had this unit now for at least a year. He maybe rich, but he knew what he liked and took care of them.

He shoots you a quizzical look before looking back at the road. The city is bathed in a gorgeous stream of oranges and pinks, tie-dying glass buildings and bustle of city roads. When you look at him, you smile softly at how pretty the light hits him.

"Why is that? Do I look that young?"

"Your vibe is so old man on a nine to three, cigar breaks by four, and whiskey sours by seven pm."

He makes a disgruntled sound at the back of his throat. You laugh. "I would like to think it's my altruistic classicism. A timeless endeavour."

"Sure, old man," you tease then sigh. "Reality is, I'm so much older than you. I'm hanging out with a child. On my free day. Is this what it means to reach low status?"

"I am not a child." His reply is sharp, cutting, almost offended.

"You're in college."

"And of legal age? You're only four years older."

"Oh, right."

"What?"

You smirk at his dark look. "You like 'em way older."

His face, much like his gaze, heats up. You're imaging it when the ride turns red, the car slows to a stop, and he is looking at your lips. Surely it was, because you got transfixed with the way his tongue darts out to wet his lips. A slow, tantalising movement.

It feels like an eternity stretched within three seconds. The light turns green and both of you turn away.

Well, there's been that. A few times. But it doesn't mean anything. Aemond is in that transition of trying to rid himself of bad habits, of being freshly single once again, and you know he and Alys get in on frequently. This had been a conversation a few days back, on a couch, smell of grease and pizza around the room while Murder She Wrote played in the background.

"Wait, wait, wait." You sat up, folding your legs underneath your butt, and giving Aemond your full attention with a little 'o' in your mouth.

"Wait!" Helaena calls playfully from her sway to the bathroom. "Imma pee!"

"Take care, my beloved!" you call back, before turning to Aemond with a big, Cheshire grin.

"Can we not dwell on it?" He's flustered but is trying not to show it, looking back to the TV as if he understood why there's a body on the plane.

But wine has been had, spilled and shared, and it's enough for you to grab that fluster and the topic, and smirked.

"No, no, we will talk about it. We shall! We must! Do you mean to tell me that by the end of it, most of the time, you two were just boning? Is Aemy, one of my favourite people in the world, a Valyrian Sex God?? Oh my god??"

"I am not a Valyrian Sex God."

"Okay, girly pop, please." You raised a hand in a 'talk to the hand' motion and he was smiling at you, entranced and frustrated. "Women talk, Aemy!"

There was a flush and Helaena came back. Wine did things to Helaena, and she was stumbling and giggling as she flopped behind you, turning around and encasing you in a koala hug.

"Women talk, baby bro." Helaena nodded sagely. "Even I try not to listen, they talk, alas."

"And Alys has said those hips—" You pointed a j'accuse finger at his hips, then his mouth. "—and that tongue has done things that can make the Maiden blush."

Helaena groaned behind you're back, a slew of 'ew's escaping her mouth. And you were still being playful, teasing, but Aemond was looking at you, though scarlet, with a deepened expression.

And at that moment, both of you were thinking the same thing.

His chin brushing your thighs, your sighs like music to his ears, and his tongue making you scream.

Warmth pooled, twin expressions share a gaze. Hunger, desire, shame.

The connection was destroyed when Helaena abruptly jolted and fell down the carpet. Because she was holding onto you, you got pulled with her.

"Are you okay??" Aemond asked.

Hel gasped. "I thought I saw Bobby. I think I squished Bobby."

You shook your head. "You didn't. Bobby is spry. Bobby knows to move away."

Aemond's confused face peered down at both of you. "Who's Bobby?"

"The local spider that lives here."

"Of course." And he smiled.

You smiled back.

Helaena giggled beside you but when you ask her, she only shook her head.

And the silence that lulls in the car is like both of you reaching the very same memory and having to sit through the stifle of that drunken interaction about his sex life. He coughs, you let out a breathy giggle.

"I should admit something," he says, parking the car in front of the restaurant. Dusk is settling, sunset in bright red and orange turning to a cool blue and pretty lavender— and when you turn to him after getting out of the car, coddling your jacket close to your body, he looks nervy. Apologetic, almost.

"What? What'd you do?"

He bites his bottom lip. "I know something about this restaurant."

"I would assume. You chose it." Your eyes narrow, giving the black-out floor to ceiling windows a look. The Painted Table is lit up in a scrawled font on top of it.

You step inside, not bothering to turn to his call of your name, and is submerged by the restaurant's vibe. It's a darkened place with meaningful lighting but a casual air, a bar on the side, and an upbeat jazzy music dancing in the air — it looks good. The place smelled delicious.

Nothing about it sparked familiarity to you, but the anticipation from that look of guilt on his face brought you to a high-strung, so when he calls your name again, just behind you, you turn.

"Is this where you had your first date with Alys?"

He shakes his head. "No. No, but—"

"Aemond?"

The voice is familiar, and you don't stop enough to think before you're turning to the low, clear voice that's just a hint of husky, and Alys' green eyes go wide at your appearance.

She's dressed nice, dressed to go out in a black dress dipping low and fabric tangled around her body to show off her curves. Her inky hair was swept to one side and her mouth was bloodred.

Alys Rivers, owner of Aemond's firsts. The woman he seemingly can't let go off.

You smile. It feels fake. "Oh. Hi Alys."

Her shock staves off into a genuine smile that makes you guilty. "Hi, my love. I see you two are together. Always attached at the hip. Dinner?"

Before you nod— or maybe strangle Aemond — he comes forward, taking your hand in the process and lacing it. He's looking at her as if he's setting a challenge when Alys' eyes fall on your intertwined hands.

"Yes," he says. "We are."

"Well... that's good. This place is great. I—" Someone calls her name, she turns back. You shoot Aemond a withering glare you hope conveys how much you're going to beat his ass after this. She turns back, smiling still. There's a pinch between her eyes but it's gone by the third blink. "Well, I have to go. I'll see you both soon, okay?" She turns to you, stepping forward, not minding the Targaryen beside you. "Especially you. We haven't hung out in a while."

"That's true, I've missed you, you crazy witch." And she laughs and you smile, because you genuinely consider Alys to be one of your friends. Not maybe as deeply as Helaena's, or as close, but Alys was an amazing person and you enjoy her company.

Plus, right now the one you're angry about it solely the man holding your hand.

Alys turns to Aemond, and he stiffens. Between them is a complicated look. So many things unsaid, before her smirk softens. "It's nice to see you too, Aemond."

And she turns away, walking back to her table, to her date, when you tug him with you to the bar. As you order a dry martini, he speaks. Calm and soft.

"You're mad at me."

"You knew she was going to be here." You turn to him, arching an eyebrow, hating the way your chest pangs. "You stalked her and brought us here because you wanted to use me."

He shifts, face crumples at the word 'use' and calls your name in a plead. "It's not like that."

You snort, taking a sip of your drink when it arrives. "Don't lie."

"Okay. Yes, I did. I... I made an impulsive decision because I wanted to see how she could go on a date as if we were nothing." Bitterness cripples his words, the smirk on his lips is ironic and darkened in hurt. Your heart hurts for him, but you can't give him a pass just like that. He hurt you too.

"You could've told me."

He raises an eyebrow. "You would be okay with this?"

Your own smile is ironic and darkened by hurt. "You're already using me, Aemy. That was the deal I agreed, for Hel. It would at least lick the wound to have been in the know, and not, you know, got shot in the face with it."

At the first part of your tirade, he looked like he wanted to argue with the using part, but the realisation weighs him because it is true. To him, he is using you. And it's a cheap shot on your part because you were also doing this for him, out of your own free will.

You sigh when he turns away, guilt dipping low.

"You're such a dumbass."

He hums in agreement.

You're aware of a gaze from the tables, somewhere in the ocean of jazz music and chatter, Alys is looking, and you kinda wanna make this good for him. You were already here after all.

Your hand reaches his jaw, sliding across his neck until you reach his nape and fingers tangle with the baby hairs there. His hair had been wrapped into a bun. Sleek and fluffy.

He turns to you, to your touch, in shock. "What are you—"

"Try not to look so surprised," you whisper, stepping close to him until your noses are bumping. "We're supposed to be dating."

And then you slant your mouth against his.

TAGGED: @fan-goddess @snh96 @valeskafics @opheliaas-stuff @tempo-rary-fix @fantasticpeaceharmony @diannnnsss @iamavailablesstuff @spinachtz @at-a-rax-ia @bespinnn @tsujifreya @moonlightfoxx @kemillyfreitas @joyouart @bananzaa @honey-on-mars @alexa4040 @cinnamonbambii @wintrr13 @wxb-slingrr @astroswift @queenofshinigamis @helaenaluvr @kaetastic @jxdegodfrey @laniii-on-your-left @watercolorskyy @snowprincesa1 @gemini-mama

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sidsinning · 11 months

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the movie aint better ya goofs (don't read if you don't wanna hear my slander lol,,,)

"Movie!Gabriel is better than show!Gabriel because he actually cares for his son and gets redeemed"

istg this fandom's obsession with redemption needs to END

Morally better character ≠ better writing

Can I just get a piece of media that tells kids "hey, ur abusive parent was an asshole, and even if they had humanity you do not need to reconcile and forgive them in the end" bc I feel like that's what show!Gabriel leans towards which is great

Gabriel barely talks to Adrien in the movie and suddenly when he sees him under CN's mask his entire reign of terror, his determination to see his dead wife again ends in a tearful hug lmao come on now

("but the ending where Adrien suddenly loves his dad again???"- Astruc has been pretty blunt on Twitter that this perfect society you see in S5's ending is built off of a lie, so Adrien is def not gonna just keep that view)

"Adrien actually stands up to his dad in the movie!"

Movie!Adrien is legit a normal human boy, not a sentimonster who is literally physically incapable of fighting back against whoever has his amok

He DOES fight back (even in S1 as CN!), but people like to remember the show only up to S3. Guess what, he learns to fight back and stand up for himself through his growing bonds and relationships with those around him through character development ✨✨✨

Also, he is an abused kid??? In the show?? How can you knock him down a peg for not fighting back,,, 😭 Adrien's lesson isn't that he needs to learn how to fight back, it's that Nathalie shoulda called cps sooner!!! In the movie they are much more of an estranged father-son pair than anything abusive. So obviously the back talk is much easier too. Movie!Adrien gets to go out alone and with friends unless his dad has specifically planted an enemy where he is. Show!Adrien has been beaten, mind controlled, forced to hurt Marinette, isolated and locked up, etc.- he has been TERRIFIED of his dad multiple times.

"Marinette isn't an obsessive stalker in this!"

SIGH.

Man I am so sick of this complaint- the show has never rewarded Marinette for her obsessive behavior. BC IT IS A CHARACTER FLAW. One they use for cringe comedic purposes, but a flaw nonetheless. Every time she has done anything that hurts others in pursuit of Adrien she is punished by the writers. And bc the show has an episodic monster-of-the-week format, this plot is recycled a lot (which is its own complaint). And guess what? SHE STOPS BEING OBSESSIVE. YEAH. SHE STOPS DOING THAT SHIT- so what do you want now??? She grew out of it after it costs her the miraculous so why tf are yalls still hurling this at her like its a L,,,,

This Marinette is just a watered down boring version of show!Marinette. She's just a girl who gets insecure at times but grows confident bc she's Ladybug. Ok. So is our Marinette but MORE. Our Marinette is super smart, creative, resourceful, an overthinker, extremely kind and selfless to others, gets jealous and reckless when her emotions get the better of her, etc. She is fully formed even after watching just 3 episodes of S1.

Like the fact that they didn't even bother to include the oh so important hook of the show- her lucky charm power- shows they didn't care about doing this story justice- its so transparently lazy writing 💀 (miraculous of creation where??? CN gets cataclysm for destruction but what is movie!LB bringing to the yin yang table,,,)

Legitimately all the comparisons I'm hearing from people saying the movie is better are from those who just aren't caught up with the show where Marinette is no longer toxically obsessive with Adrien, where the plot/lore is insane but 10000000x better and more creative than what the movie gave us, the love square was much better developed EVEN FROM JUST THE ORIGINS EPISODES, etc. Istg these people stopped at S3 where the show was at its worst (if I were to pinpoint it)

Everything is so watered down or changed for the worse

Adrienette bonding was 1 conversation and 2 seconds about his mom in a voiceless montage. Marinette didn't fall for him bc of his kindness after a misunderstanding, it was bc he looked handsome in the library's light lol. He called her weird and didn't think twice about putting on his earphones to listen to more alpha podcasts. You really do wonder why she likes this dude over her partner CN bc they have no connection at all.

Movie!Adrien was an asshole don't you dare do show!Adrien dirty by comparing him to this ellen degeneres alien lookin mf

When movie!Adrien is crying after Mari reveals herself as LB, unlike the show, here you're like "yeah no you only like her now bc she's LB lol"

Anyways feel free to enjoy what you enjoy but uuuuuhhhh this movie getting a 3/10 for me would not rewatch

Oh wait the good things

-Visuals

-Some Ladynoir scenes were cute, like them playfully fighting with the accidental wall pin

-I liked Ladybug moving away from CN's kiss- nice hint of angst

-Chloe's coffee stain scene

-Luka cameos were cute

songs were bad or mid

ya das it

I guess feel free to talk to me in my inbox about your own thoughts if you wish (respectfully plz)

#ml #mlb #miraculous ladybug #ml movie salt #ml movie #miraculous awakening #sidrabbles #rant #making me dick ride for this show so hard is so sick and twisted but i cant let the germy stans remain unscathed #millionaire corporate ceo is ur manz huh come on now

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galactic-rhea · 4 days

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It's ranting hours sunday for me: Y' know, I think when people complain soooo much about Padmé getting with Anakin, they're failing to see a lot of things. BUT ESPECIALLY...That it was her choice, and if speaks a lot of her character and personality.

She was already done dirty by the movies by getting so many deleted scenes, but then if you try to take away the agency she had on marrying a human disaster or her choices, like her forgiveness/understanding, it's actually undermining and flattening her character.

The fact is that she's actually very similar to Anakin, she's stubborn, deeply traumatized, compromises a lot for the sake of others and loves beyond reasoning. We, the audience, know that Anakin will become Darth Vader and one of the most iconic villains of history; so everything he does can be seem as a red flag that really isn't there.

From Padmé's POV, Anakin has done terrible things, but it's capable of incredible acts of love and compassion. They're in circumstances that aren't normal at all, she was queen at 14, and he was born a slave and joined the space wizard monks and his normal is kill or be killed. Our modern and omniscient POV can't be applied onto them because there's no point of comparison in this sci-fi-shakespearen tragedy-soap-opera-fantasy.

Besides...she was actually right in the end, and I don't believe is "feminist" or progressive to take away a big part of her core personality, that actually had repercussions in the whole story, and make her out to be either unaware and naive of marrying a monster, or (the worst one, imo) being jedi-mind-tricked-brainwashed-abused by her husband.

The "right, correct, girlboss and queen" actitude does more damage than help, leave Padmé to be a person. A person who wanted to have a fairytale romance with some guy who would fight for her and makes her laugh.

Also, the hell why you wanna blame her for something Anakin does, come on. That's a whole other can of worms, though. My point is, that trying to avoid or re-work-or re-contextualize the fact that she chose Anakin despite him literally telling her about murdering a whole village, is actually changing a big chunk of her personality traits.

She was a child queen, then a politician at the edge of an inminent war, manipulated by the same guy that groomed Anakin into a massive murderer, saw her people being taken into camps, had assasination attempts weekly and had to rip off of her individualism by becoming a public figure, giving up her sense of being a person by having several almost identical decoys, she had to stop being just Padmé to be Queen and then Senator Amidala and she did all of that showing little to no emotion.

Then Anakin does all what she herself had to rip off of her in order to be a politician: Honest, passionate, and able to show emotions; like love or anger.

She has morals and she represents democracy and justice, in a way. But I fully believe that inside her she had the same passionate anger and love capable of burning the galaxy that we know Anakin had, which makes them different sides of the same coin, and I think she realized that. Anakin perhaps didn't , as he never stopped of seeing himself as a slave and therefore inferior, whereas he held Padmé very highly, but I think Padmé saw them both as equals. She didn't have a "I can fix him" mentality, she had a "We're the same, we're both lonely, confused, hurting and scared of losing everything. And if he's like me, then I know he can do the right thing for love."

In other words: She was as insane as her husband, she only seems normal because she wasn't put into the monk warrior order and groomed by the devil for over a decade.

#padme amidala #star wars #anidala #anakin skywalker #sorry i saw a tiktok talking saying how padme is like pseudo liberal white women excusing her conservative homophobic boyfriend and #being dumb for no realizing or listening to the red flags or something like that and then ppl suggesting that she was just jedi mind tricke #and that if padme was really awesome she would've never chose anakin willingly so is better if she was forced or somethingan #and i got angry

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antianakin · 9 months

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I find it very interesting to look at how different it feels when Padme and Luke both say "There's still good in him" just based on the context and lead-up to that line for both characters and why audiences might view the characters differently because of it despite the intentional parallel.

Let's start with Padme. Yes, Padme's dying words are intended to parallel her son's line from Return of the Jedi and we know that she ultimately ends up "right" about there still being good in Anakin. But the context of Padme saying this gives a very different tone to that scene.

Because Padme is a character who actively tries to pretend that Anakin has no darkness in him at all despite repeated evidence being shown and told to her that he DOES simply because it's more convenient for her to do so.

In Attack of the Clones, Anakin straight up tells her he believes in dictatorship and Padme's response isn't to be disgusted or report him, but to just decide that he must have been making fun of her because it's a lot easier than dealing with the reality that the guy who is supposed to be taking care of her is in fact a fascist. And then just a few days after that, Anakin screams in Padme's face that he just massacred an entire village of people down to the last child because he sees them as animals and her response is to decide that this is just a totally normal response to trauma rather than, again, being disgusted by it and reporting him. And of course that movie ends with her deciding to marry him, despite knowing he's a murderer and a fascist and that this is against the rules for BOTH of them.

In Revenge of the Sith, there's an entire scene where Padme and Anakin sit there joking at each other about how love blinds you. They're joking around and you can see the scene as just a sweet little nonsense scene if you choose to, but it's also very intentionally foreshadowing a lot and has the subtext of the thing that is going to destroy both of them in a few days. When Obi-Wan comes to Padme to ask her about where Anakin is and tells her about what Anakin's done, Padme's response is to deny it. She argues that Anakin would never kill children, despite the fact that she knows he HAS killed children before. And then she lies to Obi-Wan, obstructing his ability to figure out the truth about what happened to his people or to gain justice for the genocide that was just committed against them. And her next response is to go find Anakin so that she can ensure he escapes any consequences for what he's done while still insisting that he hasn't done anything wrong at all.

So when Padme says "There's still good in him" it comes with the context of Padme spending two entire films refusing to actually see Anakin for who he actually is. It comes after MULTIPLE scenes of Padme rejecting the reality that Anakin has darkness in him that he is fully capable of acting on. Sure, she's not wrong that there's still good in him, but the line feels more like Padme just continuing to pretend that Anakin didn't just commit a genocide and bring down the Republic rather than Padme being right about Anakin. It doesn't sound like "Yes, I know that he's done a million terrible things, but I have hope that he can still make the right choice if we approach him the right way" and more like "He was probably just brainwashed or something, he didn't REALLY mean to genocide an entire people."

And this then directly foils Luke later on.

Because when LUKE says it, it comes with the context of the entire character journey Luke has been going through over the last 2.5 films. Luke's had to learn to accept his OWN darkness and face his own worst fears about his heritage and what he could become. He's had to face the reality of losing the people he cares about and seen the consequences of what happens when he lets arrogance and fear blind him. Luke has had to accept that Darth Vader is a part of who he is, he's not infallible, he could fall to darkness just like his father did if he isn't careful. But this comes with the ability to recognize that this could mean that Darth Vader might yet be able to turn around and make the opposite choice. If Luke has the ability to fall, Darth Vader has the ability to rise. Luke knows that it's always about making the right choice, and while Darth Vader has made a LOT of bad choices, it doesn't mean he can never make the right one. Choosing to believe that Darth Vader could still have goodness in him is a result of accepting that Luke has darkness in himself, too.

So when Luke says that there's still good in him, there's no attempt to pretend that Anakin hasn't done monstrous things. Luke really can't pretend that Anakin didn't do them, he's literally stood there and watched as Anakin did some of them. He's down a hand for the rest of his life because of Anakin, he'll have to live with the evidence of what Anakin is capable of forever. He CAN'T sit there and pretend that Anakin didn't do those things the way Padme could, it isn't possible for him. For Padme, Anakin will always be "that little boy from Tatooine," just like she says in Attack of the Clones. But Luke knew Darth Vader first, he's known the villain and the monster longer than he'll ever know Anakin Skywalker. Even when he figures out how to reconcile that these two people are the SAME person, he doesn't know enough about Anakin Skywalker to be able to pretend that Darth Vader didn't do the things he's done. Luke says that there is still good in him with the full awareness that Darth Vader has made a LOT of horrific choices in his life. There's never any attempt to try to convince himself or anyone else that that isn't true.

He sees Anakin in the full truth of who and what he is. He knows EXACTLY what kind of darkness Anakin has in him and is choosing to believe he can still make a better choice ANYWAY. Unlike his mother, Luke knows who Anakin is, he's never been given another choice.

That's why Padme comes off as wrong about Anakin while Luke is right even though they both say the same thing. The line doesn't MEAN the same thing to both of them and the audience can pick up on that because both of them have had several films' worth of context letting us know that.

#star wars #luke skywalker #padme amidala #padme critical #padme amidala critical #anti anidala #anidala critical #anakin critical #anakin skywalker critical #anti anakin skywalker #anti anakin

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hijinxinprogress · 10 months

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Young Justice spends all of their time violating the Geneva conventions or mocking their mentors bc they’re traumatized theater kids without any capacity for a verbal filter which is also why they’re not allowed to watch movies at the tower

YJ is watching some hero movie and a character with a gruff voice sternly says “we don’t kill…we’re better than that” so Tim gives the most dramatic sigh and goes “this is giving me back the migraine from our last lecture from the league” which leads to YJ doing their best to dramatically reenact disappointed justice league lectures

Cissie, offhandedly: Most superheroes having that dumbass code that’s some variation of “we don’t kill, we’re better than that…” make me fucking nauseous because who’s we? I’ll have you know my mother assures me that I’m a piece of shit everyday so no I’m not better than this.

Greta, in a mocking disappointed tone: Cissie! I’m very surprised at your behavior, we’ve taught you better than that! We’re here to protect people not to hurt them

Kon, in his best angry Cissie impression: Well, who’s gonna protect my sleep schedule? You woke me up at 3am to stop some idiot that wanted to steal kryptonite? Are you serious?They’re not going to jail they’re going to the nearest cemetery that I can promise you

Anita, in a dramatic hero pose: I’m not like you…you made me realize something, I have friends and people that love me so I’m not going to-

Bart, doing an excellent mimicry of Anita’s unimpressed face: He killed your family wdym you’re better than that, that’s dumb as hell you even look at anyone I know with the tiniest hint of malice you’re leaving in a bodybag

Kon, turning to Bart and making his voice echo the way Greta’s does when she’s annoyed: what is this nonsense I wouldn’t let anyone get away with doing that to you guys I promise they’d suffer immensely

Cassie, hovering in the air doing a terrible impression of disappointed superman: We can’t kill because then we’re no better than they are

Anita, glaring at Cassie with her best Kon impression: I’m okay with that…let’s not pretend you don’t expect this from me, am I supposed to care? They deserve to suffer, why should I be the only one that has to suffer?

Anita, pretending to storm off dramatically while Cassie tries to look disapproving:

Cissie, doing her angry Bart impression: You’re not gonna waste people I actually like then get to chill in jail and breakout in a couple days

Tim, in a dramatic ‘I’m not mad, I’m just disappointed’ tone: I’m not sure how you did things in the future but you can’t do things like this, do you understand?

Cissie, snorting and crossing her arms in the agitated way Bart does: I understand that our first fight will be our last because we’re not doing this shit again I’m not superman

Greta, in a gruff Batman voice: People can change if you give them a chance

Cassie, in a sarcastic Tim impression: I’ll start a timer I’ll even give him five minutes why are you playing with me rn Batman

Bart, sighing disappointedly: You're so angry and I wish you’d find an appropriate outlet for all this aggression. You don’t know what taking a life will do to you, what it’ll take from you….

Tim, in an irritated Kon impression: why not? we can find out let’s do an experiment and find out I like science I’m game hbu??

Cassie, who does the second best Batman voice: Neither of you can even begin to understand-! How do you know you won’t end up ending low tier criminals like pickpocketers? We can’t play judge, jury, and executioner… what happens when you’re wrong? What’s going to stop you?

Greta, fiddling with a phone and shrugging before giving Cassie Tim’s patented ‘I can ruin your life and you’ve just given me a reason’ look while doing her impression of the way Tim stands when he’s pissed and rolling her eyes: Self control? Common sense? When have my hunches ever been wrong? Don’t play with my intelligence, it will not work out for you

Bart, doing his best to copy the way Cassie stands and messes with their hair when they’re pissed: I’m just saying, if you blow up a city block you lose air privileges I have debris in my shoes rn for what?

[JL was meeting with a bunch of reporters in the tower and later had to do a lot of damage control after the press released a statement about the JL failing to rehabilitate young villains]

#YJ is completely aware that Tim is unhinged and petty as hell but they think it’s funny bc they’re also unhinged and petty #cissie king jones #greta hayes #tim drake #kon el #kon el superboy #anita fite #dc empress #dc secret #bart allen #dc impulse #impulse #cassie sandsmark #wonder girl #red robin #young just us #young justice

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atinylittlepain · 7 months

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joel miller x f!oc

story playlist

monsters are made of myths. in this story, two myths become one. two myths are in love. they are in wretched love.

warnings | 18+ this is a work of contemporary horror | literally cannibalism, and the trappings of it - love as consumption, non-graphic death, murder, grotesque depictions of food (normal food) and eating (normal eating), non-graphic references to unhealthy parental relationship (abuse and neglect), descriptions of dissociation, smut, strange neurotic processes in general

word count | 17K (yes, really)

a/n | this fic is partially inspired by the movie Bones and All, and it is my attempt to get Bones and All right (read: better) - i cannot stress enough that this is a work of horror, and as such, deals with unsettling imagery, subject matter, and emotions. read with care. special thanks must be given to @pr0ximamidnight and @wannab-urs who loved these two characters enough to keep me writing them, thank you, my darling friends, i hope i've done them justice. and thank you, dear reader, for coming along on something of an odyssey.

Monsters, she thinks, are hewn from guilt and shame. She is trying very hard not to feel either of those things about what she must do. But some slippery part of her still supposes that she has been a monster for a very long time, maybe even from the beginning. When did it change? When are monsters made? Like everyone else, she drank from her mother’s breast. Some time after that then.

What she does remember is not regretting it, any of it, until her mother taught her it was something to regret. Shame in the whites of her eyes, the dark ring of her open mouth, stricken in a scream. She has only ever met one other person like her in all her time skipping from town to town, a few years younger than her, but older in her confidence, her certainty in who she was. And like her, the first time, a babysitter, blood in the bathtub. She took her ear clean off, and the girl’s father found the scene when he got home from work, babysitter having fled, baby still in the tub, gumming on something pink and soft in her mouth. He had been afraid, she told her, that she could have drowned. Never mind the ear. Monsters are loved too, after all, a wretched thing of love.

For her it had been a finger. At least that’s what her mother told her, easy to wrap her small mouth around. She believed her, vaguely remembering the flicker of red nail polish, bitter amidst the rest of sense and sate. What she does remember, the feeling of fullness. What she does remember, her mother making a myth out of her, conjuring up some way to explain this condition of hers. Condition, what she decided to call it. An affliction of appetites, something to be controlled, to be smothered under the thick swaths of what her mother taught her. How to be normal is really just another way of saying how to hide. And she hid for a very long time, weak and wan and wanting things she knew she shouldn’t be wanting. Until, eighteen, and their tenth packed car and dark house and her mother telling her that she was no longer interested in this myth, this unmaking of a monster. You are what you are and I have tried, I have tried, I have tried, but you are what you are.

Not just guilt and shame, monsters are made in the breadth of a back turning, in eyes settling somewhere up and away. Monsters are made in a leaving. Everyone has already left. So what else is there to do but eat?

She likes the song that’s playing in the convenience store, the light haze of it, staticking from somewhere overhead. Hazy in the afternoon slump, everyone making minced conversation about setting the clocks back last weekend. Her watch still reads an hour ahead.

I feel the earth move– she needs toothpaste.

I feel the sky tumbling down– and soap.

I feel my heart start to tremble– but there’s an empty promise left in her wallet.

Whenever you’re around– soon, she will have to stay.

I just got to have you– soon, she will have to pretend.

Baby– make-believing normal.

I just lose control– make a little more money.

I get hot and cold, all over, all over– before another leaving.

Tumbling down, tumbling down– before another fullness.

“Excuse me.” A man, somewhere in her periphery, and the quick realization that she’s been standing in front of bars of soap, considering what it would feel like to slip one or two into the pocket of her coat, standing there for a bit too long. Shrug and shuffle to the side, a quiet sorry, keeping her eyes down, but in a quick flicker, she sees his face. Fang recognizes fang, always.

He looks tired, like if not for whatever weight is pulling at his shoulders, he would be much bigger, much badder. Worn thin at the edges, wings darkening beneath his eyes, he spares her a single glance, disinterested, picking up two bars of soap, the kind that smells clean and young and kind. As he leans down, she sees the glint and flirt of gold dangling from his neck, a cross. But she knows, she thinks she knows. When you are rare like this, it isn’t difficult to know another myth when you see one.

She watches the heels of his boots clip down the aisle toward the checkout, there and gone, and she does not follow. This is not something that should be followed. She knows, she knows. She tried once, with that girl. That girl who had different ideas about what their myth meant, their mouths, who decided that cruelty felt good, who decided to play the part of the monster with a terrible flair. No, this is something best done alone, and worst when it is shared.

A single bar of soap sits heavy in her pocket while she pays for a tube of toothpaste, the man already gone, mercy. And the evening unfolds like it usually does during these times of motion. Still enough gas in her car that she can crawl a few miles down the interstate and find a quiet place to pull off for the night, somewhere green, somewhere with trees. Summer, the heat turning cool and sticky as it starts to darken, and a routine that is familiar to her by now. Windows cracked just enough to let a thin stream of fresh air in without threatening danger. And she folds the fact of her body in the backseat, tucking all her angles beneath a worn blanket that she keeps folded in the trunk during the day. Always memory before sleep, though her mind has made motheaten, misshapen murmuring out of the most of it. The fullness is always what remains. And that thick curl of shame.

Here is how her mother made her. She broke skin and pulled out a rib of her own, made flesh of her flesh, tended to the wound until it was something else. There was no father, and there was certainly no god. At least that’s how her mother told it. You came from me, mine, this is mine, me and you and your mouth that must stay closed because I love you even though you are like this, awful, you are like this and I love you. But that love stretched thin, snapped, bleeding gums and broken teeth and never again. A goodbye that she is still saying, that she curls herself around in the backseat of her car in the summer when it’s warm enough for leaving.

…

Maybe a foolish thing to spend what’s left of her money on. The waitress is very pretty though, a flush of red curls piled on her head, red lipstick too, crackling with her smile and bleeding into the lines around her mouth. Pours her a dark cup of coffee and leaves the steaming pot of it at her table. She pours three plastic thimbles of cream into it, two packets of sugar that she doesn’t stir in, lets it settle, biting down on the grit when she tips the last of her cup back into her mouth, and repeats. And the pretty waitress brings her two plates, so hot that they leave red welts on her forearms when she sets them down on her table, pinkened pain. Scrambled eggs, grease and sweat pooling beneath their lingering heat, bleeding over into two pieces of bacon, blistered crisp. A stack of pancakes, the sheen of butter seeping down, she pours enough syrup over them to pool thin and flooded on the plate. Collects a little of everything on her fork, the soft give of protein and matter, everything sagging in the sweet stick. Hand to mouth, but she stops, stuck, seeing him sitting alone at a booth across the diner. And he sees her too. A meal much like her own, enough to give someone a stomach ache. His eyes fall away from hers just as soon, and she watches him pass a knife through a piece of meat, flesh on his fork that he pockets into his cheek, jawing it down. She works her mouth around her own bite, teeth hurting with the snap down onto metal, the scrape of the fork. The food turns to sweet, soft mush, rolling around on her tongue, swallowed hard.

He’s watching her again, working his jaw in a slow shift, and this time, his eyes don’t leave hers. She plucks a piece of bacon off her plate, pinched between thumb and forefinger, bites down again and sucks the salt from the dried flesh. He finishes a piece of toast in two bites, mouth screwing to the side, the dip and bob of his throat when he swallows, muscle moving muscle. Sweat is starting to prickle her scalp, the soft stretch of her stomach with her meal, warm and sick and sloshing. She doesn’t chew her eggs, swallows them, slipping down her throat with the rest of the salt and sate. His eyes fall to her hands, the smooth procession of fork and knife making mince out of her pancakes. She sucks the syrup out of each bite, works the sugar down first before swallowing the rest. His meal, almost completely gone, dragging a finger through a smear of ketchup he had been steeping his hashbrowns in, sucks the remnant red into his mouth. She can almost hear the hum that bobs in his throat, even through the murmurings of the diner. And he is very beautiful, beneath it all. The crooked strength of his nose, his brow, the drop of his lashes over the tops of his cheeks when he takes a pull of coffee. Unabashed, she stares, and he stares back, a darkened dare, watching the movements of each other’s mouths.

And just like that, she’s still chewing when he gets up to leave, not sparing another glance her way as he shoulders out the door. Her chin tilts, neck stretched to see him get into a blue pickup truck with a slam of the car door. He’s gone like a thin flame of lightning. She feels like she’s going to throw up. But she doesn’t, pays her check and stumbles out into the starkness of the morning. It’s a Saturday, and families are congregating for breakfast. She watches, slumped in the driver’s seat of her car, a sliver of a little girl and a little boy crossing her rearview mirror, holding onto hands attached to bodies that are cut off from view. She sighs, sits up straight and turns the key in the ignition.

…

It’s a half-hour worth of driving later when she sees that blue pick-up truck again. Midwest, middle of nowhere, fields of ruin, and that truck, still and silent next to an abandoned barn made of rot. Middle of the day, the sun a flirting threat high in the middle of blue shock, but there are very few people out here, no one around to see her pull off the side of the road, get out of her car, and start swaying through the tall grass toward that truck and the barn.

He is beautiful like this too. Slinking out from behind the barn, his eyes flickered low like he knew, he knew. His shirt is ruined, dark, damp. White t-shirt bled red, and the strange starkness of that gold cross glinting around his neck. He drags the back of his hand across his mouth and makes the mess worse, smears it up to the height of his cheeks, across his forearm. And his eyes, his eyes, swimming, darkness starting to drip down his face, starting to meld and mix with the rest. Beautiful, and so very sad.

“There’s nothing for you here.” Low, the shivering thrum of it murmuring from somewhere between his ribs. Some kind of twang that sharps in her ears. She can’t find words of her own, still where she stands, beneath his hunkered gaze. When nothing comes, he sighs, shakes his head, walks right past her to his truck, keeping a wide breadth of distance between them as he does.

“How did you know?” The question tries up her throat once, twice, before it finally jerks out into sound, stopping him before he opens the door to his truck, squinting at her over his shoulder.

“It’s not hard to tell.” And in the space that follows, something is understood, confirmed. It’s starting to dry on his skin, in the scruff along his jaw, dark. The strangest hunger, the sharpest, an awful ache just looking at him. But he’s already leaving, not another word when he gets into his car, and the silence is a command in and of itself. I am and you are, and it will be a blessing if we never cross paths again. Again, gone, parting the sea of withering grass with the slow trundling beast of his truck.

She does not look, does not see for herself what lies behind the barn. She already knows.

…

Like a child, her cheeks flamed with tears, scrubbing at the salt as soon as it falls. To put it simply, her car stopped, a few last wheezing rolls, and it will not start again. And there is no one to call, not out here, between states, between time itself. Eventually, the panic gives way to a dull surrender. She leans against the side of her car, tips her head back to let her face flush in the last slip of light, the sun fretting at the edge of the horizon. Memory is never far when she lets her eyes close. Something normal, driving down the street outside of house number five, her mother letting her, teaching her. She had laughed, giddy, running her palms along the wheel. Back then, flight had felt more like option, and less like routine. Those last few years, and the quick succession of escapes.

She was out of control, her mother’s words, and she felt it too. Felt like a fine thread of hunger had been stitched through her spine and was pulling painful, the sharp tug toward destruction. And when the thread snapped, it was all she could do to find something to close her mouth around. Those last few years, they moved more than they ever had, every couple of months when she would inevitably mess up, making a mess of everything. Much easier now to always be leaving, because staying was never really an option.

It’s heard before it’s seen, the crackling of gravel, of tires and brakes slowing down. She lets one eye slip open in a thin slit, squinting in the final slip of sun. That blue pick-up truck, sidling up behind her car along the shoulder of the road. He makes no move to get out, but he does roll his window down, and that’s enough for her to walk over to the side of his car, smalling beneath his steady eyes. He’s clean now, she thinks she can even smell the soap on him, that same soap that she stole a bar of and has been holding under her nose in the nights, something of comfort before she sleeps.

“You’re like me.” The words come from somewhere unnamed inside her, what might be called courage in someone else, and it seems to surprise him too, his brow jumping before furrowing back down.

“I am.”

“Where are you from?” A stupid question to ask someone like her. She doesn’t blame him for remaining silent, lips pressed in a thin line. So, she tries again.

“Where are you going?”

“West.”

“Where west?”

“Just west.” Silence again, a single car hums by them. He clears his throat.

“Is your car broke down?”

“I think it’s dead.”

“Is it worth fixing?”

“No, probably not. And I don’t have any money left.”

“Do you want a ride?” Myths are made in the fine split of choice. She is walking into a new one.

“Okay.”

There is very little of herself to collect. A bag in the trunk of her car with a few spare clothes, her blanket, a bar of soap. The rest can be left behind.

“I’m Joel.” All that he offers her when she slides into the passenger seat, a glance that falls on the curl of her hands in her lap.

“I’m Maeve.”

It has been a very long time since she has been a passenger in someone else’s car. Sixteen, maybe seventeen, leaving always looming, but she had been doing well for her mother. Well enough to get a date with a shy boy who sat behind her in seventh period math. He took her out in his car, fall and dark and dim and something light threatening in her chest, stealing glances at each other as he drove them out to that spot that everyone parked at. Lovers, lovers, lovers, young limbs tangling in the backseats of cars, damp windows and fog twirling up skirts in the wash of headlights. And they had parked, and shy boy had stuck his shy tongue in her mouth, and she had liked it, she had liked it. And of course, it went wrong, blood and body and blood and she ran home with salt stinging down her cheeks. She didn’t mean to hurt him. She never meant to hurt anyone. This isn’t a hurting thing, at least she didn’t want it to be. Her mother had slapped her, hard, sending her neck turning to one side before collecting her up in her arms and making it all better, making a leaving for both of them.

Now, with her temple pressed against the window of the passenger side door, silence save for the thin voices on the radio, she thinks of that boy, and how carefully he had cupped her cheek in his palm. She wanted to kiss him, she wanted to love him. But she didn’t know how to without biting down.

For as long as she can remember, alone has meant monstrous. Evidence of defect, deformity, the delineation between others, normal, the world, and her, somewhere on the periphery, always. But she wasn’t always alone, and for a while, that was enough to convince her that normal was possible, that, no, not a monster. She had her mother, not alone, not a monster. Clinging to not alone so hard, and in turn clinging to her mother so hard, that often her fear, or love, or the product of the two, would get her hurt.

She was hungry for touch as a child, and her mother was unwilling to give it to her in the amounts she wanted for. Her mother, her mother, locking her bedroom door from the inside so she couldn’t turn the handle and slip inside and ask for a palm on her back to calm her nightmares. She would curl up on the pilled carpet of whatever house they were in at the time, back pressed to the door like maybe she could feel her mother’s respiration through the wood, something to soothe down her spine, thumb tucked into her mouth. And in the mornings, bleary, jostled awake by the slow fall backward when her mother would inevitably open the door to her room. Lying on her back in the doorway, blinking up at her mother, grave and grim, who was always frowning, always sighing. Not again, not this again, not you, doing this again. Her mother would step right over her, the hem of her dressing robe brushing against her body as she did, and even that was a relief to her, touch of some kind.

And her mother did love her, in some way. Loved her the way one loves a monster. At arm’s length. That doesn’t mean much to monsters, though. They want, they hunger, just the same. She has wondered, from time to time, if it was the way her mother loved her that made her worse. To go hungry like that for so long, no great working of the imagination to consider how a body might solve that problem in another way. But no, she knows, this is something essential, something curled close inside her. This hunger has been there from the beginning. After all, the finger, the red nail polish, she was just a baby then. She likes to imagine how her mother loved her before that happened. There was a whole year of life before she became a monster. What is love like when people will actually look you in the eye, when every touch does not come tentative as if through the bars of a cage? Sometimes at night, she will wrap her arms around herself and trace her palm along the span of her back that she can reach. Something like that, she imagines, it would feel something like that.

Something like what she is seeing now, sitting in the pew ahead of her. Husband and wife, and they are very old, the fine threads of age mottled on the back of husband’s hand, spread between his wife’s slight shoulder blades, her pale blue sweater, gold band glinting. His thumb moving back and forth, a smoothing thing, smoothing and steadying thing. The sermon, the prayers, the withering coughs of the staggered crowd all fall away. Small salvation in the steady rhythm of touch, it mesmerizes her. Things like these are always over before she’d like them to be, the husband’s hand falling away as he and his wife both rise from their seats, the sudden shuffle making her blink back into place and space. Plenty of people are getting up, sliding out of the pews to line up down the aisle. Joel, one of them, a gasp of cool air in the empty space he leaves beside her.

She doesn't know what they are doing in a place like this. She doesn’t think, up until recently, that she had ever been in a place like this, if she’s being honest. Her mother wasn’t religious, and it always seemed to her like churches were somewhere good people went. So no, she had never been in a church before. Not until she started traveling with Joel.

He tries to find one every Sunday if he can, in between towns and states and strips of road. Usually, he will manage to, he doesn’t seem to care what kind. Last week, Presbyterian, and the week before that, Baptist. This week, Catholic. They all seem the same to her. But then again, she doesn’t listen closely to the sermons, focuses instead on the movement, and making her own like theirs. Here is what she has learned, when you talk to God, look up, and look sad. What else she has learned, at the end, there is always an eating. Bread and wine placed on soft, trying tongues, and some kind of prayer draped over the entire thing. She watches Joel, every week, take communion until she doesn’t even have to watch. Keeps her eyes closed and pictures the drop of his jaw, the slow pull of his throat. She knows it, she knows it. What she doesn’t know is why. Not much room for a God like this one in their particular myth. Though Joel seems intent on it, and she is in no position to challenge this routine. A month traveling together, and still such strange silence between them. But on church days, he is always more likely to speak.

There’s only a few other people who don’t get in line to receive communion, and all them, herself included, are met with the heavy sweep of eyes, soft shakes of heads that tells them no, should not be here, no, not for you. A childish thought that she keeps to herself, not for Joel either, no matter how he plays pretend at it, gold cross glinting like a rotten tooth rendered good at his neck. A thin flare of jealousy, maybe, that he can believe in good so easily.

But maybe Joel is good, she thinks, in spite of what they both do. He certainly seems good walking down the aisle, polite words soft in his throat and a nod for her to follow on his heels and out to the parking lot. These people, church people, will never see them again, and that is a mercy.

“Where are we?”

“We’ll be in Kansas soon.” He always answers that question with the future rather than where they are in the present, always forward motion. All that he offers her, folding his worn map back up before he pulls the truck onto the road.

Joel has some money saved from a past staying. And she told him that wherever he decided to stay next, she would stay too, paying him back for what he has already spent on her. He seemed neither moved nor impressed by her affirmation, eyes slipping down somewhere to the side, a sigh. At the very least, it’s a comfort to her, the promise of somewhere for her, for a little while.

“Should we try to today?”

“We don’t have to do it together. If you want to, today, that’s fine. I don’t mind.” The words feel stupid in her mouth, and the sharp look Joel gives her before his eyes return to the road tells her as much.

“It’s safer if we do it together. Less of a mess.” It doesn’t feel that way to her. She knows what he means, but still. Not to her. Shameful to her, that someone else sees her like that. Shameful back when she had been traveling with that girl, that girl who would grin through it, teeth stained and tarred and making her sick up in her throat with shame, with cruel terror turned inside herself. But Joel isn’t like that. No, there is something different to how Joel tends to this.

Now, alone means go, green light, good for taking. They watch for alone, parked in rest stops, gas station parking lots, all the in between places, places where the loneliest people tend to linger. They’ll spend whole afternoons in some various slump in or against his truck, squinting down in the sun at bodies moving around them, moving through. Today, they pull off at one of those long haul trucker stops, a gravel lot full of slumbering beasts of cars, cargo, men mincing around, stretching length back into their tired bodies. And they watch. And they wait. Teeth aching.

Joel distracts her, sometimes. Her watching him watching the world. It seems like he moves and something pressed beneath the thin crust of the ground moves too. Big man, silent as a fist man. But he is nice and gentle and kind. Small words for a big man. A kind of manners she has never seen before. She watches him now, the soft squint of his eyes under the sun’s cool heat, leaning against the side of his truck with his hands tucked into his pockets, ankles crossed. He looks so casual, but she knows that there’s a wire strung taut in his spine, quick flickers of want, of hunger. She feels it too.

“Joel?”

“Hmm.”

“Can I ask you something?” He doesn’t say yes, but he doesn’t say no either, ducking his head down in a way that shows her he’s listening.

“How many others have you met?” Like us, the implicit understanding of like us. Something strange passes across his face, quick pinch, smoothing itself out.

“A few.”

“How many is a few?”

“I don’t know.”

“Well, how many do you think there are in the country?”

“I think that’s a useless question.” He doesn’t say it mean, more matter of fact than anything, though it still feels like a swift loss of breath in her lungs. She pinches her mouth shut, a flume of embarrassment warming beneath her skin. But Joel pays her no mind, his gaze has settled on someone.

They’ve only done this together two other times, but it’s been enough to know there’s a particular way Joel goes about this. Always alone, always men, trying for the bad ones. And how they decide who is bad is, at best, a childish logic. Alone, for one thing, both of them understanding how that can translate into bad. The loud ones, the brassy, blundering ones, ones that bodies move like they know violence intimately. It is all a game of chance, though Joel seems so methodical. Regardless, it makes her feel messy, smeared and stupid for the way she used to go about this, which is to say, with little thought for anything save the ache in her gut. Yes, she had rules of her own. Never children. Rarely women. As alone as she could find them. It was in the mechanics of it that she always failed, and this failure curdled into something close to cruelty, something she had a hard time stomaching.

But not Joel. Joel is painfully careful in how this is done. The first step is always the waiting, seeing if a body will stick around in this in-between place. And in that waiting their hunger grows teeth of its own, hunkering their shoulders, making them as small as the curl of their guts. And when a body stays in that in-between place, a trucker who seems to be resting for the night, wandering idly around the lot with a cigarette held loose like a prayer between his lips, that’s when Joel moves. This part is not difficult for Joel, because he is kind and gentle and nice. Quiet, he smalls himself, makes himself anyone that could be anyone else.

And when he does it, he does it in the night, pale slants of the moon’s watchful gaze washing down on him. And when he does it, he does it with his hands. Not a word, not a whimper or whine, just a final puff of breath when he is done, something absent floating up in his eyes. In the close brush of trees a few yards away from the rest stop, there will be nothing left to find when they are done. Down to the ankles, and then some.

She hates doing this with him, to have him see her in it, and in the after of it. The sate feels good, but the shame fans a perfect flame up her neck. And she cries, she always cries, and he refuses to look at her when she does. They stumble into the rest stop bathrooms and wipe away what they can from their skin. This is no clean thing. She will feel the stick of it on her for days afterward, she always does. But she will feel good too, full too, and it will only make the shame worse.

“Why do you cry like that?” It startles her, stops another sniff from hiccuping up her throat. He doesn’t look at her, keeps his eyes focused out on the flare of their headlights eating away at the road, driving back into the night. It’s difficult to look at him, the pearling stains of it that he missed down the line of his throat, the darkening of the front of his shirt, pink-tinged skin, hard to scrub off. Not difficult in that she wants to look away, but difficult in knowing that she should want to look away, though she doesn’t. Beautiful, eyes blown into a sad melt from beneath his brow, his jaw working at some phantom feeling. No, she shouldn’t, but she does.

“It feels like I should.”

“Well, you don’t have to.” A little sharp, still quiet, but enough to make her heart twist. The rest of their drive is silent, eventually, pulling into the vacant yawn of a motel parking lot.

Joel goes into the motel office after hastily changing into a new shirt, her eyes slipping somewhere else, but not without a glimpse of bare skin. He’s better with people than she is, and she is still inconsolable, shaking in the passenger seat and trying not to look at her hands, the thin curl of red under her fingernails. She lets her gaze unfocus on the blinking neon sign, vacancy becoming less of a word and more of a throb in her skull.

“Come on.” He opens her door for her, snapping her back into awareness, and he’s not mean about it, but he is exasperated, dragging his palm down his jaw, already rounding the car to pull their bags out of the bed of the truck. She wishes she could be like him about this, so matter of fact, so mundane. Where did he learn that from? Who taught him to be like that? Who loved him like that? He is far more free than she is, she thinks. She wishes he would show her how.

This is part of the routine too. They stand, hip to hip, at the cracked sink in the bathroom of their room and they brush their teeth. Their work is meticulous, rounding every canine, making gums bleed with too much pressure. She flosses twice, then brushes again, spitting pink into the porcelain. Joel prefers mouthwash, swallows two stinging gulps of it, trying to kill something from the inside out. It makes her stomach hurt to watch the dip and bob of his throat.

He lets her take a shower first, the faint sound of late night news filtering in through the cracked bathroom door. She scrapes at her skin with her fingernails, scrubbing down until it stings, until she’s certain that a layer has been sloughed off. She uses the soap that he uses. She smells like him. Clean and good when she looks in the bathroom mirror again.

Cheaper to get one room with two beds, she never sleeps under the covers. If she thinks too hard about what other lives have breathed on this bed, what cellular remains cling to these sheets, she will make herself sick. So she curls close to one edge of the bed, letting the light from the television blur into meaningless shapes. Joel comes out of the bathroom clean as well, the soft ruff of his hair, the stretch of muscle in his back beneath the thinness of his t-shirt. She watches him sit down on the edge of his bed, elbows resting on his knees, the glinting dare of his cross hanging from his neck.

“Can I ask you something else?” She regrets the words instantly with the sigh that slumps down through his shoulders. Not supposed to speak, not after. Though he still turns his face over his shoulder to look at her, eyebrows jumped in something like assent.

“Why do you wear that?” Nod of her head that she hopes he understands, and he seems to, pinching the teardrop of gold between thumb and forefinger.

“Because I believe in it.”

“Why do you believe in it?”

“I’d like to think there’s something that will forgive me when I say that I’m sorry.” And she can understand that, though she gave up on sorry a long time ago. Her mother used to be the one to receive her sorry. Her sorry, met with scorn, with a scoff, the whites of her mother’s eyes rolling with her sorry, the flat of her mother’s palm making contact with her sorry. Much easier, she thinks, to offer sorry to something that will never actually answer. You can believe anything you want that way.

“I wish I wasn’t like this.” She’s never said that out loud, sighed out loud, her chin propped in her palm where she’s laying on her side. But it is the crux of all her wanting, and there is a sorry threaded through it. Wanting for something else, to be anything else other than this.

“It’s not your fault, being like this.”

“I should be able to control it.”

“You can’t, Maeve, you can’t.” She knows that, nods her knowing to him before sitting up and curling her chest over her knees. There’s comfort, at least, in sharing this understanding, in finding control in other ways.

“Why did you let me come with you?”

“That’s another question.” His words curl with the smallest smile, a rare thing as he turns to fully look at her, something softening, something slipping.

“Did you follow me, Joel?” She ruined it with that, she knows, his face falling into something darker, shadows dipping and bending around his eyes, something dark swimming in his lashes. But some part of her already knew. There are no coincidences in a myth like this, everything must be chosen.

“I did, I’m sorry.”

“Why did you follow me?”

“I was confused by you.” He speaks so quietly that she keeps her body perfectly still so she can collect what little sound there is, the low thrum of it, something cracking in his voice.

“What do you mean?”

“I knew you were like me, but I didn’t understand how that could be possible.” She knows that he doesn’t mean the possibility of others, he has met others before her. Her confusion must be evident on her face, because he offers her a weak smile, his hands in an anxious clasp in his lap, working a steady rhythm into his knuckles.

“I didn’t think people like us could be good like you are.” These words, what finally shocks her, a surprised yelp of a laugh frightening up her throat, though he is serious, unwavering, and she finds herself becoming angry. How dare he tell her what she is. How dare he hope like that, amidst all this rot. The most they have spoken in their month together, and this is what he says? How dare he say good with so much certainty, and lay it at her feet like it is hers for the taking. A sick joke, more cruel than anything else.

“I’m not good, Joel.”

“You are, I see it.” She feels tears starting to ache behind her eyes again, and she is too tired for another flood. All she offers in response to him, a quiet I don’t think so, leaving no room for argument when she lays back down and turns out the lamp on her nightstand. With her eyes closed, she can hear his quiet sigh, the slow shuffle of his body laying down, the softening of his breath.

She hates that she liked the way good sounded coming from his mouth.

“Alright?”

“Yeah, I’m ready.”

“Are you getting that?”

“No, no.”

“It’s nice.”

“It’s not practical.”

“You can get it, if you want.” She considers it, letting the fabric fall between her fingers, a brief wanting that she lets dissolve with a shake of her head, the small pang of it settling in her stomach. There’s no point in getting something nice like this dress, light blue with buttons down the front. It’ll just get ruined anyways. No, instead she sticks to the sensible stack of t-shirts and jeans, some sort of dollar deal at the Salvation store on denim today. Joel takes the bundle of clothes from her, his palm cupping her elbow for a moment, and she thinks he might ask her again if she wants the dress. She’s grateful that he doesn’t, that he takes his hand away, because if not, she might have said yes, might have given into that want, and that would be something she simply could not do.

They move strangely around each other. Days bleeding weeks bleeding months. Very little progress made in the push west, following a coiled snake of a path, zagging from state to state. Pieces of each other, collected slowly, carefully. Joel is from Texas, and, like her, Joel tried at normal for a very long time. He got further in normal than she ever did. Had a daughter, had a family. Held on long enough to see her into adulthood. He writes letters to her now, though Maeve tries not to watch him working. The shake of his hand, his shoulders, not for her to see. Sometimes the letters get sent, if they are in the right place at the right time to make that happen. Sometimes the letters are left behind in their wake, a prayer to something much larger.

She tells him a clean version of her own myth, leaving out what she can, leaving out the mother when she can. She is learning the power of deciding for herself where she comes from. She is learning the power of looking someone in the eye, and of them looking back.

Joel pays for their new clothes, and she sulks, lingering amongst the racks like a despondent ghost. In part, his money comes from the wallets of the people they find in the in-between. It had upset her when she discovered this, and while he had been apologetic, always quick to soften when she prickles, he was still firm about it. She couldn’t exactly argue with his logic, doing far worse things, after all, but she still tends toward steel when money leaves or enters his hands. It makes her nervous, and it makes her sad. Because she knows with no uncertainty that Joel is good, she knows that now. A shame, that all his goodness must get confused in what they must do.

“How much longer do you think?”

“Maybe twenty minutes, we’re close now.” Something that she knows he is doing for her, and only for her, which makes it lovely, and dangerous, and a little dizzying. It had been an idle, errant thing on a morning a few weeks ago, looking at the creased map over the dash of the truck and trying to make sense of what should come next. Arizona had seemed like a tenable answer, and a memory had floated up, something she had seen on the television as a child, something she couldn’t quite believe on a hazy afternoon, turned upside down on a couch they’d be leaving behind soon. A chasm in the earth, somewhere split open, somewhere to look inside of and see whether all wounded things bleed the same way. Sheepish, she had mentioned it to Joel between the cracks of her fingers held over her mouth, hiding the want that was curling at the corners of her lips. And he had said okay, as if it were as easy as that, as if want could ever be as easy as that, asking and receiving. A silly thought, she wondered if he wouldn’t say the same thing if she had pointed up to the moon instead. She thinks that he would.

The truth, she likes Joel, in a way that makes her nervous. Likes the quiet hum in his throat while he drives, likes his palm between her shoulder blades, an absent-minded touch that she tries hard not to lean into, likes the steadiness of his breath in the middle of the night. Above all, she likes him looking at her, and she likes giving that back to him, looking right back at him with only kindness, a foreign mercy.

“Have you been before?”

“No, never even been in Arizona before.”

“Thank you, Joel, for doing this. I know it’s silly.” His hands flex along the wheel, a light jump in the tendons of his fingers, a glance her way in the passenger seat before his eyes settle back on the road.

“It’s not silly. We needed somewhere to go.” Always needing somewhere to go, the in-between of the in-betweens. But here in the cab of his truck, it seems like time might forgive them, might let them slip by. She’s worked up something that kicks like courage over the months, enough that now, she will often reach across to him and take one of his hands in both of hers. And he will let her. Always that first tensing, touch still tentative, though the lines of his palms will smooth out eventually, pressed close and tight with hers. She likes to hold the pads of her fingers over the soft inside of his wrist, let the beat there lull her into line with the murmuring engine. And he lets her.

It’s a perfectly normal scene when they get there. Tourists, teeming, tired parents and kids tugging at pants, at hands, at each other. And Joel, clearing his throat a few times, a shake in his hand that she knows well as they walk out to the edge. She hooks her arms over the railing, leans over until her stomach starts to lurch, eyes dizzy from the vast swaths of red and orange grit, crags and peaks and dry brush all around, down into the canyon.

Because she is so good at leaving, she can do it without even having to move muscle. A little leaving, she watches herself from somewhere suspended, and in her leaving eyes, she watches the small mechanics of her body climb over the rail and leap out into the sinking blankness. But a hand on her shoulder draws her back. She finds Joel looking at her with a cloudy focus, a soft frown that she watches pinch and pull into a thin line. He clears his throat again.

“Is it what you imagined?”

“It’s in color.”

“What?”

“When I saw it on the TV it was in black and white. This is better.” Relief, she thinks, something that smooths his brow and the wings of his shoulders. Maybe even a smile. She offers him one of her own, slight slippage when her gaze wanders over his shoulder. Hand in hand, a halo of golden hair like corn silk, a daughter at her mother’s hip, both of them walking away from the edge. Probably back to their car, probably back to their home, to dinner, to bedtime, to mother brushing her daughters corn silk hair with hands that could not even imagine violence. Saying I love you with mouths that could not even imagine violence.

And Joel turns around to see what she is staring at, and she sees in the planes of his back the same tensing she feels, the same tensing that comes with knowing that something has been lost, and that it can never be retrieved, returned to. When he turns back around to her, steel has resettled in his jaw, but something is swimming hazy in his eyes.

“We should go.”

“Okay.” She takes one more look at the open wound, one more imagining of slipping into it, letting it swallow her whole. And then, well, they do what they always do. They leave. Somewhere inside of her, she is telling her mother that she finally got to see the Grand Canyon.

…

She thinks she might be hurting Joel. Not directly, not intentionally. She’s been trying to wait out her hunger, staving it off, and he in turn has been doing the same. Testing and trying the boundaries of how long she can hold onto normal, and it hurts, and she can see that it hurts Joel too. Waiting like this, going without like this, strings him by a livewire of his want, makes him jumpy, slow to soothe, to sleep. She can hear him shifting around in the night in the close quiet of their motel rooms, restless, wanting. Sometimes, he will sigh, get up, moving quiet in the dark, the thin slice of sound when he opens the door and steps outside. He goes and sits in the truck. She knows, she has stepped into the corner of the motel room window and seen him with his temple propped in his palm, made small in the cab of the truck. This waiting is tiring. This waiting has teeth and claws and growls. This waiting, this hunger, is enough to make an animal stupid, shivering like static.

And he has done this nice thing for her, taken her to see the black and white wound in color, and so, she decides that the waiting is done, for now. So they do the thing that they do. They find a place that is in-between, and they begin a different kind of waiting.

“I want to see this time.”

“No, Maeve, it’s not something you should be seeing.”

“It’s nothing new to me, Joel.” She needs to see, she thinks, needs an accounting of every part of him. In the past, it has always been an unspoken routine. She would catch glimpses of it, of him, of his hands closing around something fragile, but he wanted her to have nothing to do with it. It’s not like she hasn’t done it herself. The whites of the eyes, and the collapse of the lungs one final time, wretched things she understands.

“I’d rather you didn’t.” His voice borders on the edge of pain, the tendons in his neck playing a hurt tune, and for a moment, she thinks about backing down, letting this go. But she can’t. To do what she wants to do, she must know every part of him, this too.

“Please.” And he’s not going to say no, she knows that. He has turned her into a terrible king in some ways with how little he says no to her. She grows greedy with it. A child growing up with so much no will hoard whatever yes they can find.

He doesn’t say anything else, returns to his waiting in the gas station parking lot, with perhaps an edge less patience, shifting in his boots and squinting into the dry shock of the afternoon. She presses her lips together to keep any more from coming out, turns back to the strange landscape surrounding them, the desert, the resilient death of it. And as always, if you wait long enough, someone else will come staggering into the in between.

It begins like it always begins. They wait until the bruising pall of night washes the cracked earth purple, all the other nighttime creatures starting to yip and titter, working themselves up into their usual routine. But this time, she is there when Joel approaches the man, there to watch something else slide into the place where he is kind and gentle and nice, there to watch him, with the calm strength of a storm, take the man out into the quiet judgment of the desert.

She stands and she watches a scared animal whimper and wriggle in a merciless trap. Joel’s hands are around the man’s neck, hunched over the strange slump of his body, a thin frown on his face and the slightest pinch between his brows. She can’t look away, her eyes stinging, unblinking, wide and receiving this part of him. And Joel is looking right back at her with the same intensity, eyes lit up in a slash of moonlight. And the man refuses to die. Still struggling, clutching at air and hoping for a savior. And the errant realization that she is someone people need saving from, a quick flash of lightning in her mind. Her stomach starts to churn.

“Please, please.” It isn’t the man that’s saying it, she realizes. It’s Joel. Quiet and broken murmurings, pleas, prayers, for this to be over. This time is different. Joel, usually so clean and quick and quiet, is struggling. And it isn’t because the man is big or battering, actually quite slight, actually still slumped, but wheezing lost breaths, heart still beating blood and body. Broken cries like an animal caught in a trap. She covers her ears with her hands, but the sounds echo, and the sounds will echo for a long time. But she can’t look away, not even when thin beads of silver start to fall down Joel’s face, crying, and still pleading for the man to die. And when nothing else works, Joel does turn violent, a quick shock of it in the way he makes simple work of the man’s neck in his hands. She lets out a shriek that she cannot hold back, hot shame following close on its heels.

Joel is pale, face flushed wan and weary. He swallows hard a few times as he straightens his spine, letting the body curl limp on the ground. Hot salt starts to skate down her face, both of them crying now, shivering with it.

“I can’t, not this one.” His face crumples at her words, something close to agony that makes her stomach swoop and curdle. She has seen every part of him now. There will be no returning from this.

“Maeve, please, I–”

“I’m going to wait in the truck.” Already turning her back to him and stumbling toward the faint, fluorescent pulse of the gas station in the distance. He does not stop her, and she is grateful for it.

The worst part, she is still very hungry. Her shame growing wings that batter against her ribs, because beneath the horror and the guilt, there is still that hunger, made worse now by how close she came to sating it. Like a petulant child, frustrated, and on the brink of going full-tilt. She sits in the passenger seat of the truck and presses her forehead against the window, cool glass providing the smallest comfort.

And when Joel eventually returns to the truck, he is not covered in it. She knows he is still hungry like her. She does not want to know what was done with the curled body, and he does not tell her.

They are silent, small, slow moves. She keeps her temple pressed to the passenger-side window, shoulders shaking with the smallest sobs. And she isn’t sure if it’s the hunger, or the shame that is making her cry, and not knowing only makes her cry harder.

She doesn’t know how long they drive for, but eventually there is a motel, and eventually she is standing in the bathroom of a motel room, and he is standing next to her, and they are moving like they had not failed. She brushes her teeth twice, until it hurts, and like always, he lets her have the shower first. She wants it to burn, and so it burns, coming out from under the water with skin welted and washed thin. And when they pass each other in the doorway to the bathroom, their eyes still don’t quite meet, nothing is said.

Something strange is settling inside her. She doesn’t lay down, runs her palm across the static fuzz of the television, over the pixel-pocked face of the person delivering the evening news. And when that isn’t enough, she presses her cheek to the low-humming screen, curls her arms around the back of the television, and holds herself there. And for a moment, it’s as easy and as simple as how good that warmth feels, the mumbling drone of sound in her ear. She pulls herself away from it when she hears the water shut off, and there is a moment of reckoning, recognizing, when he comes to stand in the doorway to the bathroom. Hair dark and dripping darker onto his t-shirt. He looks at her, and she looks back, her hands fisted in the fabric of her sweatshirt. He looks small, he looks sad, he looks like he’s about to ask her for something. She would give him anything he could ask for, she would try, the realization as clear and clean as the blade of a knife.

“I’m sorry, Maeve.”

“You don’t have to be.”

“I couldn’t. Not with you there like that.”

“It’s okay.”

“I wanted to keep good for you.”

“You are good, Joel.”

“Please, don’t.” A monster, broken, a monster, bending, a monster, brought to the ground. A monster in tears. Something seems to split inside him, the fragile threads of his strength flailing and failing. And she surprises herself when she goes to him before the first shaking crack of a sob can rack his chest, curls arm around shoulders like she knows what to do. He’s saying something that sounds like sorry and she’s saying something that sounds like forgiveness, managing enough movement to get them to the edge of one of the beds, to sit down still holding him.

That cross hangs from his neck like a wretched joke, the small shiver of it. He cries, big man, big strong man. And she holds him, lets him shake with sorry and promises him that he doesn’t have to, that he is okay, that he is good, and in turn, it feels good to give these things to him.

Eventually, the shake starts to smooth, and when she takes his face in both her hands, he leans into it, eyes heavy and worn weary, but something bright still when he looks at her.

The thing is, Maeve knows very little about what care looks like. Most of what she learned came from the same black and white fuzz of a television. Beautiful women and beautiful men and their beautiful lives. In the movies, care is a delicate hand at the cheek. In the movies, care is a complete embrace, arms in arms and faces tucked into necks. In the movies, care is having someone to come home to, someone to love. When her hunger was at its worst as a child, she would sit as close to the television as she could get, unblinking, should she miss the moment that the beautiful woman and the beautiful man would kiss.

And when she got older, she learned a little more about what care is, and more importantly, what it isn’t. There were boys whose violence shocked her, and in turn were shocked by her own violence. There were men that made her feel foolish for expecting care, and there were others who were just plainly mean. One comes to mind, a man whom she got on her knees for. Strange, how women are made gods on their knees, fleeting, foolish gods. And she felt wanted, looking up at him and him looking down at her. And she was wanting too, the thick curl of it in her stomach that was different from any other want. But that had changed very quickly. She didn’t like the way his hand gripped the back of her skull and she didn’t like the crude words he dribbled over her and she didn’t like that it didn’t feel like care, knew that it wasn’t care, it was a cage, and it was too much, and it was all she could think to do because she was afraid, she was afraid, and wanting, and afraid of her wanting, and she was young. So she let a different kind of wanting, different kind of hunger take over. And instead of a god on her knees she became a monster all over again.

She has not tried for care since then, not for a very long time. But she thinks that she would like to now, with Joel. And so she does, tentative at first, the soft presence of her mouth at his temple, the round of his cheek, the drop of his lashes brushing against her skin, something shy about it. She lays another at the corner of his mouth, and it is an asking, it is a choice, it is a new myth made possible, one in which they can both be good, one that is constructed out of care. An answer in the tilt of his head, in the aligning of mouths, in his palm spanning her jaw, holding her now, holding her still in a kiss that teaches her a new kind of hunger.

They move like they have both been wanting for a very long time, and they have, after all. The act of give and take, and she wants to take so much, give so much, perfect, pooling pangs of want when she lets his tongue into her mouth, a sharp sigh in her nose. Both turn pliant for the other, his hands at her hips, coaxing and curling her into his lap, and her hands in his hair, tilting his head back how she would like it so she can taste the sharp of his jaw and the soft hollow of his neck. For a moment she pauses, mouth pressed to the jump of his pulse, and she breathes because he smells like him, like that soap he buys wherever they go, like something else human and pleasant and real. And he lets her, runs his palms up the track of her spine, a soothing, steadying thing, only stilling when she lifts her face from the crook of his neck. Breath and beat stop briefly when she looks at him, the dark awe rounding his eyes, cheeks flushed down devastating and lips parted. She has never been looked at like this before. She likes being looked at like this.

“I think that you’re beautiful, Joel.” It makes him shy, and awful, it makes her smile. She keeps him from dropping his gaze in denial with her hand at his jaw, holding him there and pressing a small thing of a kiss to his lips. And what unfolds afterward happens slowly, something on the verge of timid in how they move, like at any moment, flight, fleeting and fled and gone. But that does not happen, but they both stay, and they both grow more confident every time touch is answered with more touch until they are both bare, and they are curled around each other on the bed, the closest to holy she thinks she could ever get in the sense and sate of skin pressed to skin, a warmth that is so new it stings salt behind her eyes in overwhelm. His brow pinches at the sight of her first tears, showing her how gentle he can be for her with the fragile presence of his thumb gathering the salt before it can fall.

“I’ve never met someone good like you.” Awful, she believes him when he tells her this, hope unfurling in her chest and flushing up under her skin, a terrible heat that flickers and flumes when he begins to shift down her body, moving muscle how he would like it to move until she is splayed for him, her knees falling to the sides to allow the breadth of his shoulders to settle between them. He rests his open mouth over the soft inside of her thigh, his eyes flaring up to hers beneath the dark fan of his lashes. And this is care, she thinks, soft jaw and soft teeth where they could turn so violent. Soft only for her. He holds her in the soft bleed of his mouth, dragging heat to her cunt. He takes from her, eats at her pleasure, pulling muscle and bone into a taut line of want, her whole body strung in a snarl as he takes and takes and takes, his mouth, and his fingers, and yes, she thinks, anything else she could ask him for. He would give it to her. Gives and gives and gives until it’s his name in the back of her throat, something that borders on pain with the way he continues to mouth at her through it. She tugs at his hair, begging mercy that he finally allows, up and up and up until she’s tasting herself on his mouth and the solid weight of him is smoothing the kick of her pulse, her chest.

The roll film starts to melt and pop at that point. Not like the movies, some myth of their own, making myth out of their want. She opens for him, a high, animal keening in her chest when his hips settle against hers. And it is not grace, it is not beautiful or merciful. It’s want distilled, and it makes them move ugly, animal, accepting and open to each other, a little bit frantic, frenetic and fizzing. Skin slicks with salt, turning everything hazy, everything close and cloistering and she likes it, the feeling of overwhelm, blatant and battering and him, all she can think about is him saying her name, saying his want and calling his want by her name. And in the aftermath, they barely move, remain pressed close like stained glass starting to melt into syrup.

He holds her in a way she didn’t think she’d ever be able to ask for, tucked close to the steadiness of his heart, a sound that soothes and reassures her that yes, this is real, yes, this is shared.

“This is a good thing.”

“Yeah, it is.”

Want is whispered on broken exhales, and accepted into willing mouths. Monsters that are no longer monsters in each other’s company.

Some things make the hunger easier to stomach. This is one of those things. This is care. She is learning how to receive it, and she is learning how to give it. She is learning that she might like giving it more than she could’ve ever imagined. She didn’t know how to for such a long time, after all, that it is something entirely new, something that feels good.

And in that care there has been a staying. Small, but still, she can’t remember the last time she spent a week, let alone two, in a single place. They get a motel room with a kitchenette, and she knows that money is starting to become more of a question than an expectation, because neither of them are doing the thing that makes them monsters. Playing chicken with each other’s hunger, but filling in the ache with other things.

Joel buys her that dress, light blue with buttons down the front, watches her put it on for the first time in the peeling mirror next to the bed, sheepish and smiling, rubbing his palms down his thighs. She flushes, and any hunger is smothered beneath a fine flume of want, and of something else. Something like power, being seen like this, and seeing him like this, his eyes heavy and lingering. And how easy want like this becomes, him reaching out and her responding with two steps into his arms. He drops to his knees before her, sweet in his supplication, bunches the fabric up at her hips, and gives a little more to her from the soft hinge of his mouth. A fine fissure splits and snarls in the mirror that day from the way her skull makes contact with it, perfect arc of pleasure and she doesn’t even mind the pain.

They go to the grocery store that’s ten minutes away and pretend at normal. They buy white bread that’s so soft, she watches the easy give of it with the press of her thumb, how it reforms itself around the indent through the crinkling plastic. Tomatoes, and mayonnaise, and salt, and they sit in the back of his truck, and she watches him slice into the perfect, red skin, juice dribbling from the clean break. The end of summer, sun flirting and flaring on their curled backs in the motel parking lot. He makes them sandwiches, and she sighs at the taste, golden and the grit of salt, and the soft stick of bread to the roof of her mouth. A hum in her throat when the sense of it all slips down. She watches his jaw work.

How nice, to let days go by in something close to stillness. She learns his body, lays him out on the coarse sheets and puts her mouth wherever she would like to. Because she gets to have him, however she would like to have him. And so she does. Lips to the center of his chest where she can feel the kick of his heart, to the soft catch of his stomach where he holds his breath, watching her beneath the shy fan of his lashes, light and shadow flickering with the trying twirl of the fan. And she’s so soft for him, only for him, soft jaw and teeth and tongue, taking him into her mouth and humming at the salt and sense of it. That gold cross glints above her with the rise and fall of his chest. And she could, and he could. As easy as exhaling, as easy as the hinge of the jaw. Though they don’t, though they don’t. They sate each other in different ways.

He coaxes her up and up and up, squeezing at the soft of her hips, a preening laugh getting stuck in her chest when he pulls her down onto the open heat of his mouth. Sweat beads and bends in all the soft places in the close swelter of the afternoon and she exults in it, watches her hips move in the sliver of mirror caught in the corner of her eye. His hands splayed against her ass, making flesh give, animal mouthings that make her shiver. She feels beautiful. Looks back at the woman in the mirror and the woman looks back at her and she feels beautiful.

And when they settle down around each other, when his hips press close to hers and she’s looking at him and he’s looking at her, she can begin to believe that they aren’t monsters at all. Monsters couldn’t love like this, at least she doesn’t think so.

“Can I have one of those?”

“Mmm.” This is the way most afternoons go. Bare, they don’t leave bed again, making a game out of reaching whatever they could possibly need. She stretches one leg out, toeing at a carton of cigarettes strewn on the floor until it’s within arm’s reach, Joel’s hand held steady on her hip to keep her from slipping. Smoking, she has found, is an excellent way to press the hunger down and away, tendriled tempering. She curls back into his side, plucks the lighter from where it was tucked in the carton and settles a cigarette between his lips. The pull he takes once it’s lit jumps and jags the tendons of his throat. She lays her mouth there, feels the thrum it drags from him, and like divine machinery, it makes a smile start to curl and round her cheeks.

He offers her a drag, and she takes one that is a little too much, makes her eyes water while he rubs his palm up and down the bare breadth of her back, soothing, all easy, easy, Maeve. Sheepish, she tucks her face down along the line of his clavicle, a small sound of protest in the back of her throat before she can stop it when his palm stills, though he’s quick to pick up the smooth circuit. She flushes, because he has made her greedy with all this touch, all this give and take, ask and receive. A different kind of monstrous, what he has made her with want made real.

“Maeve?” She already knows that tilt to his words because he has tried this a few times now, that little edge of pain that comes with hunger. She sighs, but she does lift her head so she can look at him, the slight pull of his frown, waiting for the question that’s coming.

“Will you eat?”

“I don’t need to.”

“Maeve.”

“I don’t, Joel.”

“I know you do.” And the unsaid of it, because I do too, because I am in pain too, because we are the same, and we must not forget that. Yes, she can set the hunger down, but there is always the picking it up, always the remembering. It turns her quiet, turns her stomach too, making her sit up, Joel’s hand falling from her spine. He sits up with her, ducking his head to catch the slant of her gaze, eyes rounding and wet.

“Baby, all you gotta do is eat. I’ll take care of the rest.” She sighs, letting her cheek fall into the cup of his palm, fighting a question that is threatening in her throat, and that has been for a while now. She wants to know how long, just how. He held onto normal for a very long time, and if he could, maybe she could as well. Maybe this could be enough, her cheek in his palm. But, at least for now, she will not ask that, will not try that, because she can see that she is hurting him again, dark wings beneath his eyes, jolting with unanswered want. She knows that hurt, and was fine with hurting herself for a very long time, so long as it meant a gentle hand from her mother, a promise of staying. But this is different, because even when she isn’t hurting, even when she isn’t hungry, Joel doesn’t look away from her, doesn’t leave, doesn’t punish or preach. Relief, she thinks, is all he feels when she’s full. And that’s a kind of care that is new to her as well.

She lays her hand over his, turns her face into his palm to the fated lines there.

“Okay, we’ll eat.”

Eating means leaving, and they both know that, but just the promise that this hurting will soon be over is enough to ward off any worry with skittering fingers. They slink out of bed, get dressed in the wavering light of the single lamp in their room. By now, night, dark and close when they step outside, that late summer cooling that comes when the sun slips down beyond the horizon.

They haven’t, not since she refused to, not since Joel wept. And she feels a fine thread of worry tugging in her stomach, trying not to look at him too hard as they drive through the night toward some in-between place. But there is nothing to worry about, because Joel takes care of it. And so they are full again, and so they aren’t hurting any more, stumbling through the desert brush beneath the merciful glow of the moon, dark, dark, dark.

It is amazing how little time something so monstrous takes when it is done so carefully like this. In the passenger seat, she presses her palm over her mouth, feeling the dried stick there. And in turn she reaches over to him, lays her hand over his mouth in the same place, feels the same tack there. Like her, like her, like her. He kisses the cup of her palm without ever taking his eyes off the road, the jump of muscle in his forearms, in his knuckles curled around the steering wheel.

They are quiet when they get back to the motel, curling around themselves to conceal the truth of the stain, of the darkening damp smeared down their fronts. And this routine starts the same. At the sink, the toothpaste and the floss and the mouthwash. But there is no separation when the steam of the shower starts to seep. They both strip down and step in together. Before he can, she is already pressing her palms against his chest, holding him in the stream of the shower. She cleans what remains from his skin, water pinkening in the drain. And when she’s satisfied with that, she takes his skull in her hands and tips his head back so she can thread her fingers through his hair. He hums, eyes slipping shut in pleasure made pure. And she is so gentle for him that even now, so dizzyingly full, she has a hard time convincing herself of her own monstrosity.

He surprises her when he takes over, beginning his ministrations with his hand holding her chin, fingers tucked at the hinge of her jaw to hold her steady, hold her mouth open so he can run the pad of his thumb over her teeth, pressing at the sharp of her canines, something dark laying heavy over his eyes. She tries for a grin, though it is only a crook of the corners of her lips with the way he is holding her face. And when she bites, just a little, holding his thumb in the merciful pressure of her teeth, he laughs, a quiet murmuring sound as he watches her from beneath his lashes.

“Be good, please.” And she is good for him. Good means not biting down. Love means not biting down, at least not too hard. Instead, taking his thumb into her mouth and curling her tongue around it. She sucks, and he groans, and it sends a new want stuttering up her spine. Close to frightening to want and be wanted so regularly like this. The cool tile is holy against her spine, shivering down a perfect prayer. He holds her there, and she lets him, and they do something about the hunger that remains.

When the water runs cold and clean, they get out, continue a routine that looks normal, settle down around each other in bed. Joel puts on the evening news and she keeps her ear pressed over his heart, lets the flooding beat of it drown at that slick slither of shame, still there, always there. But then, but then.

There is a woman on the news. A woman who is crying. A woman who is surrounded by the small flicker of candles held in hands, held in vigil. And the woman is crying because her husband never came home. Three weeks ago, and her husband didn’t come home, and her husband isn’t, wasn’t, the type of man who would just leave because they had children. They had children, and their father never came home. And Maeve sits up because when they show a photo of the husband, the father, she recognizes him. That night when she refused and Joel wept. She recognizes him, and her stomach starts to curdle. And Joel recognizes him too, sits up too, a careful, quiet call of her name, low, so as to not scare her into flight. But she is already shaking her head no, no, no, no, shirking and shrinking away from his touch, curling up on the end of the bed, all her angles tucked up close as panic turns into sickening white noise in her mind.

They had been careful, hadn’t they? Always careful, always the in-between, always people that couldn’t possibly have someone waiting at home for them. After all, it isn’t hard for like to recognize like. And they were careful, and they were kind, and they always tried very hard to be gentle when they had to do what they always have to do. Not enough though, none of it, enough, and it was never going to be.

Joel turns off the television, his movement fragmented in the melt of her tears, catching stained-glass glimpses of him kneeling in front of her, pleading, or praying, or something in between the two. Please, baby, please will you look at me? It’s not your fault, it’s mine, it’s mine, it’s mine. You’re good, you’re so good, please, I’m sorry, please. And it’s please over and over again, and she’s shaking her head no over and over again, trying to wrench away from his hands holding her face steady.

In the perfect cradle of a pain like this, there is a regression, something childlike in the logic of making it better. Something young in the way he unclasps his cross from around his neck and tries to give it to her, tries to lay it against her sternum. And something young in her too, throwing a perfect fit when he tries to make this right the only way he knows how. She shows him her snarl, thrashes and tears the chain away from her skin, throws it across the room. Terrible, she regrets it immediately, regrets the way his face falls, the way he sinks back into himself. She has hurt him, and this time, on purpose.

He gets up with a sigh that sounds very tired, doesn’t say another word as he crosses toward the bathroom. She can’t look at his face right now because it will make her cry even harder, so instead she lets her vision blur and unfocus around his form, a silhouette with his forehead resting against the bathroom door frame.

“I’m sorry, Maeve.” All that he offers, slipping away, slipping out of sight and into the bathroom, and that young part of her panics. No, needs him to be where she can see him, where he can see her, needs to fix this. She gets down on her hands and knees in a blind stutter, runs her fingers along the grimey baseboard trying to find where she threw that wretched chain. And it’s no use because when she does find it she sees that the clasp is broken clean off, golden bones in pieces, glinting in the faded carpet. She picks up what she can find of it, feeling small, shivering small when she pads into the bathroom.

He’s sitting on the edge of the bathtub, big man made small just like her, curled over himself with his head in his hands. And now would be a good time for her to leave, she thinks. Leave the cracked pieces of his faith on the counter and start walking in any direction away from here. She is familiar with this kind of leaving. All those years ago, and her mother in a similar posture of prostration, of surrender to this thing that she could not fix for her daughter. Her mother, asking her to leave. And Maeve, finally given an opportunity to succeed in what her mother asked of her. Yes, she is very good at leaving when people get tired of her, or frightened of her, or tired of being frightened of her. She has done it many times now.

“I’m sorry, Joel.” And the rest is said too, in a sodden slur when she holds out her cupped palms to him and shows him the broken pieces, something about her fixing it, with money that doesn’t exist, and in a place she doesn’t know, and with hands that seem to only be good for greed. But he accepts her sorry, curls his palms around hers to close her fingers over the wreckage, a prayer that she is relieved to partake in.

They are ruinous. But they are in love.

A strange, slow slump over the lip of the tub, and he pulls her with him. The porcelain, or whatever it is, is still pearled damp from their shower earlier and the bare skin of her shins sticks and slips as she settles in his lap. She holds his face in her hands, thumbs stroking at the soft skin beneath his eyes. And he’s beautiful, and she’s already forgiven him, and she never wants to hear him say sorry again because she would continue to forgive him for any and all of it. She wants a world for them in which they never have to say sorry.

“Joel?” He is listening, though he doesn’t say anything, and she allows something like hope to lurch hot and hazed in her chest.

“Do you think we could be normal together?”

Silence, for a long time. The sink faucet drips.

“We could try.”

Two years pass.

It is the longest she has ever managed normal.

The truth is there was money, because her mother did love her in her own strange way. She had never touched it before though, there never seemed a good enough reason for it. But this seemed good, like the best possible reason, really.

They get an apartment in a town in New Mexico with a name that doesn’t mean anything to either of them. Something they could both agree on, the hard bake of the sun and the dry air.

They both get jobs in the first months. She works at a grocery store, smiles bright at the mothers that bring their daughters along on their weekly errands. He works with his hands, and comes home in the slow slump of the afternoon smelling like cedar and salt. She licks it off his skin and runs her fingers through his damp, darkened hair most nights.

Those first few months, there is a mattress, and not much else. It is enough. They put it in the middle of the apartment. They eat and they sleep and they talk and they laugh and they fuck and they watch the sun rise and fall in the harsh way it does from that mattress. They are very happy.

And then they get some more furniture, and then they start saying hello to their neighbors when they pass them in the hall, and their neighbors start saying hello back. Normal slips into the corners of their lives like the most gracious guest.

At the end of that first year, when it seems like normal is going to stick, Joel sends a letter to his daughter with a phone number scribbled in hope at the bottom of the page. He waits by the phone the whole week after it’s sent like an anxious ghost, makes himself sick with waiting. And when she does call, Maeve catches glimpses of him from the end of the hall, a smile, and quiet wonder in his voice. He’s not interested in going to church any more because now his daughter calls every Sunday. He sits down on the floor with his chin tilted to the side to accommodate the stretch of the coiled phone cord and he talks all morning with her.

In the second year, Maeve finds that she likes to paint. There’s an art supply store in town, so she quits her job at the grocery store and goes to work there, gets enough of an employee discount that she can buy paints and brushes and canvases and an easel over the span of a few months. She likes the desert, likes its colors and its quiet assertion of life, so that is what she often paints. And Joel likes to watch her in the evenings, she sets up her work in front of the crooked palm of windows in the living room, an errant hum in the back of her throat to whatever song is playing on the radio. Eventually, every night, when she is doing more swaying than painting and her eyes are starting to squint shut, he gets up off the couch and pads over to sway with her, her head falling back to rest against his shoulder as he coaxes her tired body into his arms. And from the faint glow of the windows stacked and ordered alongside a few dozen other glowing windows of the apartment complex, it looks like love, because it is.

She finds that she likes routine, likes being bored and boring. She likes that the things she worries about now are small things, like what they're going to have for dinner, or whether they’ll go to the weekly tenant meeting on Thursday nights. She likes waking up in the same bed every morning, and she likes that he sleeps on his stomach when he’s actually comfortable in a space, splayed and cheek rumpled on his pillow, an arm always extended toward her, draped over her. She likes the weight, the reassurance of it. And in the mornings he is slow to wake, all soft murmurings and soft eyes, still shut even when she presses her lips to his temple, though a smile will usually start to curl smug when she does. Good morning, good morning. It is good, all of it, so good that it makes the dormant hunger hurt a little bit less.

They eat breakfast together, leaning against the kitchen counter. Eggs and their golden tears splitting and spilling on their plates, strong coffee that he takes black and she takes with cream. Their mouths work hard around normal. She packs lunches for them both, late summer again, tomatoes again, sandwiches again, the way that he made them. And on her break at work she does her best to get it down, pinching the crust off first before eating the rest. But no, that other hunger doesn’t go away. It makes sounds a little sharper, and lights achingly brighter, it makes the steady beat of the sun fierce. But she thinks she can manage it, because she wants all this normal so much more, hunger for hunger, and want for want, a careful game of tipping the scales.

Joel’s birthday is in a few weeks. She’s been working on a painting for him, difficult to keep it a secret with the way he is always over or under her shoulder, a hum in his throat because that’s beautiful, baby, you work so beautiful. But somehow she’s managed to keep it hidden. And today she picks up two fresh tubes of paint, pigments that she needs to finish her work. She’s painting a sunset for him, a landscape that they both know, a wound in the earth, that canyon that they visited once. She hopes he’ll like it. She thinks he will.

She always gets home later than he does these days because he got a promotion, baby, big man, good man who got a promotion, baby, who’s a boss now, baby, working with his hands, baby, good, honest work, baby. He's already showered, hair damp and dripping dark down the back of his t-shirt, the small slide of muscle as he stands over the stove and stirs something that smells good. That same hum in his throat when she twines her arms around his stomach and presses her face into the back of his neck, deep inhale because he smells like that good, clean soap he always uses.

And it’s all the quiet, normal things, greetings, and how was your day, and it was good, baby, how was yours, and mmhmm, good, this looks good, you look good, good, good. He turns in her arms and smacks a kiss to her mouth that makes her laugh, makes her hungry.

“I got some new paints.”

“Oh yeah?” Somehow, squirreling around each other, he tucks her into his side, arm easy and slung around her shoulders while he continues to stir pasta and sauce in simmering pots, steam and savor washing over their faces and turning skin tacky and flushed.

“Mmhmm.”

“Gonna paint something beautiful, baby?” Baby, baby, baby, his cheeks round with the word every time. She especially likes it, usually late at night, or early in the morning, when he slurs and stumbles over Maevey baby, Maevey, Maevey, Maevey. Heavy and sweet like thick syrup in his throat and it nearly brings her to tears it’s so nice coming from his mouth.

“I’m gonna try.”

“Always beautiful, always make things so beautiful.” It’s almost absent-minded the way he says it, intent on getting food on plates with only one free hand, but it still makes her stomach swoop and buoy something awful.

They eat dinner, and they sit on the couch, and he watches her work on a different painting until the sun slips under and washes everything down dark. And they get ready for bed, moving around each other in a routine they don’t even have to think about, settle down around each other and turn out the lights, quiet whisperings of love, touch that expects more of itself for a very long time, easy, patient, soft. When she feels and hears his breath slip into that slow resonance of sleep, she moves as quietly as she can in getting out of bed. She’s been hiding his painting in the hall closet where they keep their winter coats tucked. They have winter coats now.

She works in the quiet clutch of the night, eyes squinting in the dim light she allows for herself, working partly from memory, and partly from mythology of a place in their shared past. The painting will be finished soon. She thinks she’ll have to give it to him early if that’s the case, giddy with the idea of finally sharing it with him.

When she’s satisfied with her progress, still night, still close and dark and quiet, she tucks the painting back into the closet, careful not to let anything brush against it while it dries. And when she returns to bed, Joel is still asleep, on his stomach now with his arm outstretched toward her side of the bed. Nothing is easy like it is to slip back under with him.

She’s going to finish the painting tonight. The thought makes her rush a bit in closing the store. It takes her three tries to finally get the key to click into the lock. If she does finish it, she thinks she might have to wake him up right then and there to show it to him. And she floats home on the prospect of that, smiling, easy greetings to the people she passes on her way up to the apartment.

“Joel?” A fine whisper of worry when she doesn’t find him in the kitchen making dinner. He must have had a longer day at work, she figures, just now getting home and getting cleaned up because she can see the light slipping down the hall from the bathroom.

And the rest happens in a strange, slow unraveling.

Later, much later, he will tell her that she screamed when she opened the bathroom door. She will not remember that. What she will remember, the awful resignation, that understanding like a small death, that she was never going to be able to walk out of her own myth. And the blood on clean, white tile that had never seen blood before. And blood on him, on his hands and on his face and down his shirt and all over and all over and all over.

Later, much later, he will tell her that he thought he was going to die when she told him not to touch her, when she skittered back so hard she tripped and fell in the hallway when he reached for her. What she will never tell him, she sometimes wishes she died then and there.

From the glimpse she caught, there is very little left of what he has done, only remnant viscera in the bathtub. But she doesn’t see any more than that, because she is on the ground and she is pressing her back up close against the wall as far from him as she can get and she is sobbing and yes, she is screaming. Ruinous, wretched ribbons of sound ripping through her chest. It is a mourning sound. And he drops down to his knees, reaches in the space between them, but thinks better of it with the way she shrinks away from him. Pink streaks of tears down his face, he pulls at his hair in something that looks like agony. He cries with her, and he prays to her. Like a chant, like an invocation, like one last plea for salvation, I’m sorry, I’m so tired, I’m sorry, I was so tired, I’m sorry, I couldn’t, I’m sorry, I love you, please, I’m sorry, please. And she cries harder at the broken sound of his wails, fingernails clawing at her chest like she might be able to plunge through skin and muscle and find the sick, stuttered beat of her heart that is in such perfect pain. The horrible truth is she had already forgiven him the moment she opened the bathroom door. The horrible truth, they are in this myth together.

Eventually, when there is little left for her to mourn, the cries stop, everything swollen and slumped and sodden. She doesn’t wince or recoil when he reaches for her now, crawling to her on his knees, wrapping his arms around her waist and pressing the crown of his head into her stomach, still shivering in his sobs. And because she has already forgiven him, it is hardly difficult for her palms to find the shake in his spine. She doesn’t even have to think about it, holding him a little tighter when his hands grasp at the fabric of her shirt.

Still, pain. Later, much later, she does not let herself think of that day too often. Of the painting that was never finished. That was left in the hall closet to dry with a sunset that wasn’t yet complete. Because if she does think of it for too long, that pain will tear open inside her all over again, and it will turn her hateful, and she doesn’t want that, not for him, not when he tries to show her how sorry he is every day. Sorry that normal ended like that. Sorry that there was always going to be another leaving.

They leave, together, the next morning, silent as a grave. And in all the years of wandering that follow, they never return to New Mexico, a space sealed off like a tomb of the past, of a promise that could never have been kept.

…

“Are you cold?”

“A little, but it feels nice.” Still, he doesn’t think twice about offering his shirt to her from where it had stayed dry and folded at the edge of the lake, warmed by the sun and clinging to the pearling damp on her skin. It’s summer again, and they are in some in-between like they always are, and he is trying to find what joy he can for her like he always is. And it is a good day, one of their better ones, so she tries for what she can of a smile from behind the tuck of her knees up against her chest, squinting in the bright halo around him. He smiles too, a shy, small thing that looks like relief, and when he curls his arm around her shoulders, she lets him, tucks into his side, and they sit at the edge of a lake in the in-between, soft grass and mud and the mild kippering of insects all around them, baking in the sun. When he holds her like this, when normal starts to creep in, so do the tears, but she tamps them down with a hum in her throat, some song that he sighs at, tucks his face into the hollow of her neck so he can feel the thrum of it from the source. He holds her like he is waiting for her to shatter, something desperate, but something fragile. And she drags her fingers through his hair, now drying in fine waves beneath the sun, and it is a moment that will have to be enough. She is learning what to hold onto, and what to let go.

“Joel?” He hums his listening, though he keeps his face ducked down to let her continue her ministrations.

“We should probably leave soon.”

“Yeah, we should.” And it is this string of words over and over again, the finely stitched pattern of their lives held in the cradle of these few words. She thinks that she has accepted this, settled around this, grown around the rot until it has become something else. Sometimes, she wonders if they are real, if she is real. Watch two myths walk away from the edge of a lake. It is summer, and two myths are holding each other in their arms. It’s only real if you watch. The rest of the time, they define real for themselves. Real in touch, in sun on skin, in mouths and hands on skin. They make each other real within their own myth. All of the time, they are in love. Some of the time, they are happy.

But before this, before now, before all the miles they have crawled in the time following that staying that turned into a leaving, she refused to eat for another two years, despite his coaxing and cajoling. And it weakened her, made her mean and sharp, and eventually withdrawn, curled like a corpse in the coarse sheets of motel beds, letting her eyes glaze and glass in the glow of the television. Lover turned patient, any care and keeping was done by his hands, moving her in a pleading pattern of preservation. Please, baby, I need you to eat, I love you I know you love me so eat, all you have to do for me is eat. All she offered in response when he would start to pray to her like that, her palm lifting in the air, and dropping back down as if judgment had been passed. In the night, he curled his body around hers, and it was the strongest she got to feel, him weeping against her spine. And in the waking day, death seemed inevitable, seemed like grace, and one day, she told him in what voice she had left that she would like him to, to her, of her, if the time came soon. And she hoped the time would come soon. And he got very angry, it shocked her how angry he got. Voice like thunder and lightning in his hands, shattering whatever would break against the walls of their motel room. The vision of a man who did not know what else to do. The vision of a man losing. And that broken, beating thing inside of her lurched because she loves him. Loves him, loves him, loves him. And so she eats with him. And so she lives with him. And so they walk through this myth together. Her in the passenger seat and she takes one of his hands in both of hers and keeps it for herself in her lap and he lets her. How could they be monsters? How can this be called monstrous? They are in love. They are in wretched love.

And before this, before now, when a new couple moved into that apartment in New Mexico, clean, white tile clean and white again, ready to fill the rooms with their own kind of love, full and good, they found a near-finished painting in the hall closet. A painting of a wound in the earth, and the flame of a sunset. They thought that it was beautiful.

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thecruellestmonth · 1 month

Text

Juni Ba is holding a Reddit "Ask Me Anything" session on May 7 at 4 PM CEST (10 AM EST).

Some of his answers in his previous interviews about The Boy Wonder, a reimagining of Damian's story—

This is a standalone graphic novel (Black Label), meant to be accessible to readers with no prior comic knowledge. It is meant for ages 13+.

Damian is Ba's favorite Robin, and he finds him very relatable.

On Damian comic influences, Ba says Son of Batman and Super Sons were two of his favorite books. *CORRECTION: In the AMA, Ba makes it clear that he's referring to Robin: Son of Batman, not the Damian: Son of Batman series or the Son of Batman movie. Which makes a lot of sense for someone writing a fairy tale about Damian, but I was confused.

Other than Damian, Talia and Jason are the characters that Ba has been most excited to work with.

Ba did the art for the "Happy Birthday Damian" story in Truth & Justice; while the art was a test run for some design ideas he's using in The Boy Wonder, the actual story isn't necessarily indicative of his own writing style or his version of the characters.

Ba is a big fan of Darwyn Cooke. Justice League: The New Frontier thematically inspired him here, possibly more than particular Batman comics.

Ba is aware of the racism discussion regarding the al Ghuls, and he intends to humanize them.

Ba started writing in 2020 or 2021, and the story is being released now after a period of waiting.

"This is very much I guess a Juni Ba book that happens to feature Batman characters."

To start us off, what can you tell us about the story of your new series, The Boy Wonder?

I usually introduce it to people by saying it's the story of a child with a lot of hang ups and preconceived ideas, both about himself and his family members. Over the course of this coming of age fairy tale he starts to learn about them, and himself, and grow into a better person. And it really leans into the fairy tale aspect to push the allegory and the magic in this story!

Why does Damian appeal to you so much as both an artist and a writer?

I find him both tragic and adorable. He and I share some things and I think that's why my brain started coming up with a story about him all by itself. Writing wise there's a fertile ground to tell a really heartfelt story. And art wise, he's such a fun character to draw. It's like a cute little gremlin who's always frowning and judging everyone, which can often backfire on him in funny ways.

How much does Damian's past with Talia and Ra's al Ghul influence Damian and this story?

A lot! They raised him after all, so that upbringing influences a lot of what he does. But that includes Batman too, even if his influence is more recent. There's a looming presence of all the parental figures and the pressure of what they'd have wanted you to do, how they would have judged you.

Since we were talking about Damian’s mother, there have been questions surrounding characterization and stuff, especially for characters like the Al’Ghuls, whose stories unfortunately do have a lot of racist elements in their origins. Are you doing anything to combat or alleviate those concerns in your book?

Stories often dehumanize them, so I try to do the opposite. I think I have a very character-driven style of storytelling, and a lot of the time I try to give the point of view of as many people as I can in the story.

There are five issues. Three of them have the Robins, and then eventually we get to my 2nd favourite team up, which is with Talia and it’s done from her perspective. The main goal was to try to give her more of a voice, because you start this story with a kid who tells you “My parents are messed up,” he was essentially raised to kill people, but we see how she was raised too, and the faults that she can see in her father’s philosophy.

Ra’s gets a bit of that as well later on, but the main goal was, I want to make it so that when you start the story with Damian, he has a lot of preconceived ideas about both sides of his family, which make his relationships to everyone very difficult. Every adventure he has, he gets to understand things in a different light by the end of every story, and one of them was, “What is his relationship to his mom like?” And you get to see it from the mom’s point of view and understand that she loves her son, but there are a lot of complications that come from being raised by someone like Ra’s.

Beyond that, this is an older Talia, more mature and less sexualized than the usual I’d say. As for Ra’s, I can’t say much, but a lot of what you see of him at first is rooted in Damian’s childlike, heightened, and scared perception. Just like the rest, it gets explored later.

It sounds like the book will see Damian coming to terms with his place in the Robin lineage. How does he feel about his brothers?

This Damian would probably say they're usurpers, ingrates, failures and profiteers! It's pretty hard being raised as the center of all the attention, as well as a successor who's never quite enough for his grandfather, and then when thrown into the Bat family, he becomes what feels like the fifth wheel. The last and least appreciated son. So his whole arc will be about processing that.

Is there a character other than Damian that you’re particularly excited to be writing and/or drawing?

Jason and Talia, by a lot. I think because the core of it is this is a world of people who seem very perfect. Damian works as this kid who feels like he’s not good enough for that. But aside from him, there’s Jason, who’s really a well-intentioned, good hearted person who really bad stuff happened to, and he’s struggling to get out of the traumatic impact of that. And I think the story works really well in showing that.

Talia is kind of the same. It’s someone who has a very idealistic view of the world and wants to essentially, be allowed to shape the world into what she thinks it could be, but she has to be under the boot of someone else who is not very reputable, and it has impacted a lot of her life in ways that she did not intend, including her relationship to her son and that’s also probably why those two characters also get like an issue told from their perspective. I really wanted to show you the inside of their mind and dispel a lot of the prejudice that Damian has about the way they are.

I really love the way you visualize Damian and the other Robins expressing themselves with their eyes. What design elements of the character were you most excited to highlight to help show readers what Damian was feeling in a given moment?

I do love using the eyes to express! It’s a very efficient and visually compelling way to do it, but more so than that I use character design. Their shapes, their colors, they all are designed to convey something relative to the story at hand. For example Jason takes cues from Taxi Driver and the general feeling of alienation and being a drifter. It’s all to give a shorthand into how he feels, to then unpack that and give it context. Everything is story basically. Damian looks like a cute angry potato! And that’s all because despite how abrasive he can be, he has to remain endearing and you must see that it’s still a kid learning.

Well, since this is your own thing, I assume that must mean that you’re giving your own spin on these characters. Is there anything without spoilers that you can tease that is going to be different? Like if you’re a long time reader going into this you’re going to be surprised by it.

I’m someone who really likes a more fairy tale and magical side to storytelling. Something that I added a bunch of, I mean, they talk about demons in the solicits of the first issue. It’s both an allegorical thing and a very, real thing that the magical aspects of certain parts of that world have been pushed more.

The other big thing for me was Damian is the heart of the story, so everything is seen from his point of view. So Batman looks a lot more like a dad. Talia looks a lot more like a mom, and with every one of the Robins, I try to take a core concept of every one of them and push it to the forefront to contrast it to Damian. So like, I would say that the more fun part of it would be observing how Damian interacts with what’s essentially kind of a mirror put to himself every time. But overall the idea is a sort of cartoon-making logic, of taking the general elements in various iterations of a character, synthesizing them for the story, into something recognizable but digestible.

The Boy Wonder has this beautiful visual style - fairy tale, as you just said - despite some strong moments of violence. Why did you choose to tell the story this way?

Fairy tales are great for allegory, larger than life concepts and leaning into the magical. There's also a story reason I can't spoil but it makes for a great framing device.

[...] There are narrative reasons in the book that I can’t spoil, but overall I’d say it’s because it’s my favorite format, as well as a great way to really lean into the larger than life aspect, the allegorical, the magical. Fables often contain a nugget of a message or meaning, and this is a coming of age story, so it fits rather well.

The Boy Wonder is as much about Damian as it is his brothers. Has that story not been told enough — how similar and different Bruce’s kids really are — and did you draw on your relationship with siblings at all?

Pretty much no one I talk to in the larger world ever even knows that there are multiple Robins, let alone read their stories. So I’m glad to be making a book that’s easy to access for new readers, with no prior knowledge needed, that appeals on its own and can tell them a cool story about family and overcoming pressure. A story that works both for the ones who know these characters and want a self contained tale, and the ones who know nothing and just want a fun comic to read. The comic is Black Label, which usually skews older, but this is a tale I wanted accessible from mid teens to as old as you want.

And I did pull from experience! I have two siblings, my best friends all do as well, and the inner workings of how you view yourself and your family members depending on where you fit is interesting to me. It’s very much a tale of reckoning with your assumptions about your family, as well as the impact your parents had on you and your siblings.

What about Damian Wayne is so interesting to you? Do you think he gets a bad rap even now in the grander DC Universe?

Damian is simultaneously the most insufferable and most touching little boy to me. There’s a mix of adorable and deadly that I find amusing to watch, and satisfying to write. Plus I sympathize with him on a few backstory elements which are the cornerstone of the whole story.

As for his reputation, I think I’m glad there’s a reminder that being coarse and ill mannered can hide a good heart.

What are some of the benefits of putting this out as a DC Black Label book?

Mostly freedom! I got to tell the story I wanted. I didn't have to worry about continuity, and thus made what I like making: a self-contained adventure that anyone can appreciate as a comic, with or without any prior exposure to that world. Plus we got to have fun with the design of the issues!

Do you have a favorite Damian-starring story that you drew on for this book? Or maybe another Bat Family story instead/as well?

I think my two favorites were Son of Batman and Super Sons. I just vibed a lot with the fun adventurous tone. But most of my inspiration comes from outside superhero comics, or even outside comics as a whole. I didn’t even reread those two books I mentioned aside from when I needed to check phrasing. In that case I read those, and the early Damian stories just to absorb how he spoke.

But outside superhero stuff, were there any influences that were working on you as you were writing this story?

So a lot of comics from the 60s and 70s, from France and Belgium.I have a thing for like 80s and 90s movies, including movies that I was not supposed to watch when I was a kid, so stuff that’s drama-oriented. The point of this book is, it’s basically a character study, mostly of Damian, but also Damian through his interactions with other people in his life. So, mostly the other Robins, but also his parents and more so his mother.

The events that happen are really just a setting for you to observe how the characters interact, and there’s a bunch of movies in the 80s that were really good at doing that and showing you a very flawed person and the way that they react to the world around them. So yeah, that’s more of a tone thing. The aesthetic aspect was really taken from 60s and 70s French and Belgian comics as well as very old sci-fi, fairy tales, and black and white photography.

What’s the process look like for you when you write and draw a comic?

Whoa. Let’s see. So the origin of every book is a little different, but usually I spend a year or two, maybe more just thinking about the story and putting ideas down and then once I have an idea of how every story step works into each other, I start storyboarding so there’s no script.

[...] I don’t write scripts because I prefer to have the storyboard of the thing already made, because that’s where I know if something is working or not. Then once the storyboard has been greenlit and all the corrections are done, the next step is drawing the final pages. I do the sketching on my tablet, and then I print that in blue lines and ink over that. It’s a recent thing, I started doing it the last few months. The Boy Wonder was made that way. [...]

[...] I mean, technically, I started writing it in 2020 or 2021. Yeah. I’ve been sitting on it for a while, and then I made a tweet about it and it got the attention of Chris Conroy, who basically runs Black Label. He just asked, like, “OK, sure. Show it to me. I want to see what that’s like.” Several months later, the book was greenlit by DC.

You talked about how Batman: The Animated Series is an inspiration for this. And also because it’s Damian, I assume that the Grant Morrison Batman stuff is also an inspiration in some ways. But what other Batman material were you inspired by, if any, when writing this book?

Well, I wasn’t so much using Batman as I was using other things. Like there’s a bunch of influences from a bunch of different places, but the superhero stuff was mostly influenced by Darwyn Cooke. So it wasn’t so much Batman as much as it was Cooke. Like the thought process I guess was, “What do I like about these characters? Like the concept of the superhero?” Because the idea came from me watching a documentary about The Dark Knight Returns and Frank Miller. They mentioned how he was given free reign to make the Batman book he wanted. I just had the thought of, “Yeah, that would be fun, having a superhero story where you can just do whatever you want. Like, it’s your personal take.”

I guess from then, my brain started imagining a story with Damian because he’s my favourite Robin and I have a lot in common with him in terms of his backstory. I think it was this sense of sympathy towards the kid and the story grew from wanting to talk about the feeling of “You’re not good enough to be a part of the group you’re in or the family you’re in.” So being a superhero was more of an allegory of, “I don’t feel good enough to be a part of those great people who seem so perfect.”

Then the Darwyn Cooke stuff came. He was probably the biggest superheroic influence, because he’s kind of the epitome of superhero storytelling to me. He makes all his stories very easy to understand, very accessible to someone who maybe has never opened or barely knows what that character is about. His storytelling is also strong on its own artistic terms and most of all, he has this great sense of making superheroes this idea of the ideal version of ourselves, like those people who, even if they have bad thoughts or flaws that they have to overcome, they always do the right thing and they represent the best in all of us, and there’s a sort of sense of joyful fun in the superhero stories that he does. He also can talk about very serious subjects through that at the same time. My favourite superhero comic is The New Frontier, and I kept reading it over and over again when I was rewriting the book just to look at how he was managing that balance of joyful, superheroic, and inspirational fun, and the more serious themes. So yeah, the biggest influence would probably be him.

When I was doing research for this, I noticed that this isn’t your first time with a Damian comic. It was the “Happy Birthday Damian” story for Truth and Justice. Even over there, there’s a lot of similarities in terms of the character design, and even to some degree, Damian’s own struggle with his family and all that. So did that story help inform or define where you wanted to go with the characters for this book?

Well, no actually because basically when they asked me to do that story, the way it happened was that I was originally approached for something else, and I said, “I don’t really want to do that, but I’ve been writing this Damian story just for myself. Would you like to take a look?” Truth and Justice was kind of a test like, “We already have this story written by Andrew Aydin, and the idea was, do you want to draw it? It’s kind of a test run.” So I just used the designs I had already made for my own book. The fact that the themes are very similar is kind of a coincidence and it was kind of funny actually. It was a good way to sort of try my hand at drawing these for the first time, get a sense of what works and what doesn’t. I would say my story is a lot more complex, and delves a lot more into the psychology of most of the characters.

This book is an anthology like you said, where it’s about Damian with all these characters. But in terms of the structure of the story, is there like a connection beyond that, like Monkey Meat is all about the corporation. So is there a connection like that in this story?

Yes. It’s a narrative cut into different, contained stories, basically. Because the idea is that Damian is on a quest to try and prove his worth by defeating an enemy, and it’s really more of a set up to allow for him to meet all the different characters that he does. But the goal is that every story progresses that main plot that he’s on and getting closer to the final showdown against the big enemy.

The whole point is this kid needs to grow up and understand the familial context that he was born into on both sides, like a lot of it is him learning how complicated his parents are, and the effect that they’ve had on the people around them and learning to move beyond the trauma and the more negative impact of being the son of a guy who dresses like a bat, or the descendant of a selfish egomaniac. The big plot of the thing is a young boy wants to prove his worth and every story is a step on that journey towards the final end.

For Damian, you said he’s your favourite Robin. You relate to him a lot, but was there anything beyond that that made you want to sit back and think, “Okay, this is the character that I want to give my own spin on?”

I love the concept of Robin. When I was a kid, that was probably the thing that I liked the most about the Batman world. The reason why Damian worked so well is that it was such a perfect way to also tackle the previous ones, so every one of them represents some aspect of what being a Robin is like, and you can use that as an allegory for being part of a group or family with a code and stuff. You can talk about being part of a group with specific ideas of how you should behave, what kind of things you should uphold as good.

Damian’s the runt of the family. He’s the kid who just showed up. He doesn’t really know these people. He has a lot of preconceived ideas and it was a good way for me to be able to also talk about the previous Robins through him. It’s not a meta commentary, it’s more like, “Why do you like these concepts? What speaks to you as a person when you watch those beacons of goodness do things?” Damian is kind of like the audience surrogate in discovering that aspect of things at the same time.

What’s Damian’s favourite sandwich?

Well, I’m going to try and focus on my version of Damian from The Boy Wonder specifically. That Damian, his favourite sandwich would probably be something made by the mystical creatures that serve his grandfather, who take care of the whole land that they live in. So it’ll probably be a sandwich made with vegetables and meat from supernatural sources, something that he would not be able to get in Gotham because no one even knows that this stuff exists.

I like the idea of how even his favourite food is inaccessible in the new place that he’s in, furthering the whole alienation that he’s experiencing.

If Damian had a favorite song, what would it be and why?

I’m now going to show my age and mention how my teen sister listens to these moody chill songs that sound like the softer version of the emo rock I listened to as a teen, so I’d say that style! (Don’t ask me to name them, I don’t know!)

A song from my angst phase? “Numb” by Linkin Park.

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